PAGENO="0001" AID TO FINE ARTS HEARING BEFORE THE SELECT SUBCOMMITTEE ON EDUCATION OF THE COMMITTEE ON EDUCATION AND LABOR HOUSE OF REPRESENTATIVES EIGHTY-SEVENTH CONGRESS FIRST SESSION ON H.R. 4172, H.R. 4174 AND RELATED BILLS TO AID THE FINE ARTS IN THE UNITED STATES HEARING HELD IN WASHINGTON, D.C., MAY 15, 1961 Printed for the use of the Committee on Education and Labor - / ~)C' ~` ~ * Ar i/s U.S. GOVERNMENT PRINTING OFFICE 70259 WASHINGTQN: 1961 / )/_/~::~~ ~_J L-L~ J1~j / PAGENO="0002" CLEVELAND M. BAILEY, West Virginia CARL D. PERKINS, Kentucky PHIL M. LANDRUM, Georgia EDITH GREEN, Oregon JAMES ROOSEVELT, California HERBERT ZELENKO, New York FRANK THOMPSON, Ja., New Jersey ELMER J. HOLLAND, Pennsylvania JOHN H. DENT, Pennsylvania ROMAN C. PUCINSKI, Illinois DOMINICK V. DANIELS, New Jersey JOHN BRADEMAS, Indiana ROBERT N. GIAIMO, Connecticut JAMES G. O'HARA, Michigan RALPH J. SCOTT, North Carolina NEAL SMITH, Iowa CHARLES S. JOELSON, New Jersey JULIA BUTLER HANSEN, Washington CARROLL D. KEARNS, Pennsylvania CLARE E. HOFFMAN, Michigan PETER FRELINGHUYSEN, Ja., New Jersey WILLIAM H. AYRES, Ohio ROBERT P. GRIFFIN, Michigan EDGAR W. HIESTAND, California ALBERT H. QUIE, Minnesota CHARLES E. GOODELL, New York PETER A. GARLAND, Maine DONALD C. BRUCE, Indiana JOHN M. ASHBROOK, Ohio DAVE MARTIN, Nebraska PRANK THOMPSON, Ja., New Jersey, Chairman ROBERT P. GRIFFIN, Michigan DAVE MARTIN, Nebraska DONALD C. BRUCE, Indiana COMMITTEE ON EDUCATION AND LABOR ADAM 0. POWELL, New York, Chairman LOUISE MAXIENNE DARGANS, Chief Clerk RUssELL 0. DEERICKSON, ~Staff Director WRAY SaUTE, Education Chief HowARD G. GAMSER, Chief Counsel for Labor-Management LIVINGSTON L. WReGATE, Associate Counsel for Labor-Management TnaE5A CALABRESE, Administrative Assistant to Chairman RICHARD T. BUBEESS, Minority Clerk SELECT SUBCoMMITTEE ON EDUCATION ROMAN 0. PUOINSKI, Illinois DOMINICK V. DANIELS, New Jersey CHARLES S. JOELSON, New Jersey IULIA BUTLER HANSEN, Washington WILLIAM GEEBERDING, Coun8el II PAGENO="0003" CONTENTS Text of bills: Page H.R. 413 H.R. 1942 15 H.R. 2227 17 H.R. 2275 19 H.R. 3250 H.R. 3509 21 H.R.3640 10 H.R.4172 1 H.R. 4174 13 H.R. 5408 6 H.R. 6484 8 S. 741 11 S. 785 23 Statement of- Beelke, Dr. Ralph, executive secretary, the National Art Education Association 117 Berg, Harold F., national counsel, American Guild of Variety Artists (AGVA) 121 Bolton, Hon. Frances P., a Representative in Congress from the State of Ohio 350 Butler, Miss Sally, director of legislation, General Federation of Women's Clubs 101 Buttelman, Dr. Clifford, Music Educator's National Conference 34 Celler, Hon. Emanuel, a Representative in Congress from the State of New York 340 Cheif, Hon. Frank, a Representative in Congress from the State of Kentucky 341 Coe, Richard L., dramatic critic, the Washington Post and Times Herald, Washington, D.C 109 Gorton, Dr. Thomas, president, National Association of Schools of Music, and director, School of Fine Arts, University of Kansas - - 30 Halpern, Hon. Seymour, a Representative in Congress from the State of New York 355 Hayes, Patrick, past president, National Association of concert managers; and consultant, cultural presentations program, Bureau of Educational and Cultural Affairs, Department of State 103 Hurley, Miss Marie A., national legislation chairman, National Federation of Music Clubs 119 Kearns, Hon. Carroll D., a Representative in Congress from the State of Pennsylvania 166 Kenin, Herman, president, American Federation of Musicians, AFL- CIO 27 Lacy, Dan, managing director, American Book Publishers CounciL - - 305 Lindsay, Hon. John V., a Representative in Congress from the State of New York 351 McDowell, Hon. Harris B., a Representative in Congress from the State of Delaware 313 Moore, Dick, editor, Equity Magazine, and member, National Council on the Arts and Government 85 Powell, Hon. Adam C., Chairman, Committee on Education and Labor - 164 Shouse, Mrs. Jouett, Chairman, President's Music Committee, People-to-People Program, U.S. Information Agency, trustee, National Cultural Center 25 Weston, Eddie, second vice president, Actors' Equity Association. - - - 88 Wood, Miss Peggy, American National Theater and Academy 89 III PAGENO="0004" IV CONTENTS Letters, telegrams, prepared and supplementary statements, etc.: Amaral, José Vázquez, Rutgers University, letter to Chairman Page Thompson 359 Amram, Mrs. Hortense, weaver, Washington, D.C., statement oL - - - 308 Bealmer, William, president, Western Arts Association, letter to Chairman Thompson 75 Beelke, Ralph G., executive secretary, the National Art Education Association, prepared statement of 118 Benzell, Mimi, Manhasset, N.Y., letter to Chairman Thompson 75 Biemiller, Andrew J., director,Dèpärtment of Legislation, AFL- CIO 362 Buttelman, Dr. Clifford, - Music Educators ~NationaI - Conference, prepared statement -:::::~_~_ 36 Chelf, Hon. Frank, a Representative in Congress from the State of Kentucky: * "A Plan To Bring Together Memorials to Theodore Roosevelt, \\Toodro~y Wilson, Franklin D. Roosevelt, and Other Past Presidents Has Growing Support," extension of remarks of Hon. Frank Thompson, Jr., in the appendix of the Congres- sional Record of January 16, 1961 344 ~"Cities and People-More or Fewer Works of Art," article by * - Robert J. Lewis, in the Sunday Star of May 14, 1961 349 "Congressman Frank Chelf's Plan for a Living Memorial to - Past Presidents Has Growing Support," extension of remarks of Hon. Harris B. l\'IcDowell in the appendix of the Congres- sional Record of March 24, 1961 343 Text of H.R. 5617, A bill to amend the National Cultural Center Act so as to make it permanent and to provide for a living memorial to past Presidents of the United States including Woodrow Wilson, Franklin Delano Roosevelt, and Theodore Roosevelt 342 Winstead, Mrs. T. D., chairman, Federation of Womens Clubs, letter from 342 Cheskin, Irving W., executive director, the League of New York Theaters, Inc., letter to Chairman Thompson 362 * Clark, Hon. Joseph S., Jr., a Senator from the State of Pennsylvania, article appearing in the Congressional Record of February 2, 1961, entitled, "Program of Grants to States for Development of the Arts" 122 Coe, Richard L., dramatic critic, the Washington Post and Times Herald, prepared testimony of 111 Conaway, Donald F., national executive secretary, American Federa- tion of Television and Radio Artists, telegram to Chairman Thomp- son 360 DeMille, Agnes, telegram to Chairman Thompson 363 Fame, Hy, national executive secretary, American Guild of Musical Artists, telegram to Chairman Thompson 360 Fall, Dr. Frederick, former director, U.S. Department of Agriculture Symphony Orchestra; director and conductor of opera activities of the DistrIct of Columbia Recreation Department; former music director for U.S. army of occupation in Austria, statement of 311 Hanson, Howard, director, Eastman School of Music, and president, national council, telegram to Chairman Thompson 122 * Hayes, Patrick, broadcast on WGMS, May 14, 1961 108 Humphrey, Hon. Hubert H., a Senator from the State of Minnesota: "Cultural Activities in the District of Columbia," article appear- ing in the Congressional Record of January 13, 1960 143 "The International Cultural Exchange Program," article appear- ing in the appendix of the Congressional Record of January 13, 1960 Joel, Lydia, editor, Dance magazine, telegram to Chairman Thomp- son Th PAGENO="0005" CONTENTS V Letters, telegrams, etc.-Continued Kearns, Hon. Carroll D., a Representative in Congress from the State of Pennsylvania: Page "A Home for American Art," article in the New Republic 209 "A Thorough Search Would Surely Find Negro Musicians Cap- able of Playing in the National Symphony Orchestra," article by Hon. Adam Clayton Powell, appearing in the appendix of the Congressional Record of March 20, 1961 188 "Amendment of Public Buildings Act of 1959, Relating to Loca- tion of Certain Courts in the District of Columbia," by Sen- ator Kennedy, in the Congressional Record of March 24, 1960. 213 "Amendment of Public Buildings Act of 1959, Relating to Loca- tion for New U.S. Court of Claims Building," by Senator Morse in the Congressional Record of March 24, 1960 214 "Amendment of Public Buildings Act of 1959, Relating to Loca- tion of Certain Court Buildings in the District of Columbia," by Senator Humphrey, in the Congressional Record of April 21, 1960 217 American Association of School Administrators, resolution on the creative arts 174 "Art League Fears Loss of Patent Office `Home'," article in Washington Star, by Brace Bassett 210 Articles in appendix of Congressional Record, March 6, 1961, by- "It Is a Brash Generation Indeed Which Will Destroy All Physical Evidences of Its Great Heritage" 234 "The American Institute of Architects Deplores the Ap- parently Impending Destruction of Certain Buildings Fronting on Lafayette Square and the Construction of Large Federal Buildings in Their Place" 230 "Capital on Culture Kick," article by Betty Beale, in the New York World-Telegram of May 6, 1961 207 "Capital To Have Its Shakespeare," article by Louis Calta, in The New York Times, May 13, 1961 212 "Cheers Are Due Capital's Theaters," article by Richard L. Coe, in the Washington Post of December 25, 1960 248 "Concerted Effort May Save Square," article in the Washington Post of May 24, 1960k 248 "Culture Talk Evokes Blast," article by Betty Beale, in the Washington Star 181 "Designation as National Historic Sites of Lafayette Square and Certain Buildings in the Vicinity Thereof," by Senator Murray in the Congressional Record of August 7, 1957 221 Eisenhower, Dwight D., former President of the United States: Letter from, dated May 8, 1961 167 Telegram from, dated May 14, 1961 167 Equity magazine, November 1960 issue, questions asked by Dick Moore, editor, and answers by Senator John F. Kennedy and Vice President Richard M. Nixon 167 Hayes, Patrick, broadcast on WGMS, August 28, 1960 227 "Home Slated as Shrine to Sousa Is Condemned," article by Stephen S. Rosenfeld, in the Washington Post 193 "Hudson Mansion Lives Again," article by Merrill Folsom, in the New York Times 208 Isenbergh, Max, Acting Assistant Secretary for Educational and Cultural Affairs, letter to Senator Hubert H. Humphrey 288 "Kennedy Asks Fund To Save Nile Relics," article by W. H. Lawrence, in the New York Times 184 Lang, Paul Henry, New York Herald Tribune, letter to Congress- man Kearns 206 McCarthy, Hon. Eugene J., a Senator from the State of Minne- sota: "Future of Lafayette Square," article in the appendix of the Congressional Record of July 1, 1960 220 "Reconstruction at Lafayette Square," in the Congressional Record of July 1, 1960 218 PAGENO="0006" VI CONTENTS Letters, telegrams, etc.-Continued Kearns, Hon. Carroll D., a Representative, etc.-Continued McDowell, Hon. Harris B., Jr., a Representative in Congress from the State of Delaware: "Efforts To Obtain the Support of President Eisenhower and Vice President Nixon for the Preservation of the Historic Buildings Near the White House Were Without Success, Citizens Committee Declares; Senator Kennedy's Bill Would Save Buildings for Cultural Purposes," article in Page the Congressional Record of September 2, 1960 225 "It Would Be an Act of Folly To Destroy the Dolly Madison House and the Other Historic Buildings Near the White House," article in the appendix of the Congressional Rec- ord of April 12, 1960 223 "Memorial to `March King'-House Bill To Preserve Sousa Home Would Block Capitol Hill Expansion," article in Wash- ington Post 194 "More About Saving the Metropolitan," article in the New York Herald Tribune 198 * "Music and Public Education," by Finis E. Engleman, executive secretary, American Association of School Administrators 176 * "Musical Congressman Attacks Corner on Arts," article by Ruth Montgomery in the Baltimore American of May 7, 1961 205 "Nationwide Support Is Growing for Legislation To Preserve the Historic Buildings on Lafayette Square in the Nation's Capital, Introduced by President Kennedy Last Year and by Senators John Sherman Cooper, Wayne Morse, and Carroll D. Kearns This Year," article appearing in the appendix of the Congres- sional Record of March 29, 1961 196 Notes on a speech to be delivered in the House of Representatives, by 199 "Our Belasco Theater Deserves a Break," article by Day Thorpe, in the Washington Star of May 8, 1960 246 "Shakespeare Fete Planned," article by Amelia Young, in the Evening Star of March 17, 1961 212 "Subsidy Makes Sense," by Hope Stoddard, associate editor, International Musician 255 "Texas Puts Its Brand on WTashington," article by Karl E. Meyer, in the Harper's magazine, November 1960 238 Text of House Joint Resolution 386, designating the first week of May each year as "National Music Week" 175 Text of H.R. 4348, to establish a Commission on the Cultural Resources in the Nation's Capital, by Hon. Adam C. PowelL - 190 Text of Senate bills: 5. 3128, by Senator Murray 228 5. 3229, by Senator Douglas 228 5. 3279, by Senator Morse 229 5. 3280, by Senator Kennedy 229 5. 3403, by Senator Humphrey 230 "The Beautiful Belasco Rates Prompt Attention," by Paul Hume, in the Washington Post of June 12, 1960 245 "The Canada Council," article by Erie McLean, music editor, Montreal Star, in the Saturday Review of May 1961 250 "The Candidates and the Arts," article appearing in the Saturday Review, October 29, 1960 170 "The First 100 Days in the Arts," in Congressional Record of May 3, 1961 181 "The John Philip Sousa Home in Nation's Capital Now Threatened With Destruction by Officials Inspired by Proposed Razing of Historic Buildings on Lafayette Square," article ap- pearing in appendix of Congressional Record of May 9, 1961W. 191 "The Texans vs. Lafayette Square," by Drew Pearson, in the WTashington Post, July 1, 1960 244 Two letters to Hon. Stewart L. Udall, Secretary of the Interior - - 285 "Washington's Lafayette Square Under Siege," article in the New York Times of May 22, 1960 242 PAGENO="0007" CONTENTS VIE Letters, telegrams, etc-Continued Kearns, Hon. Carroll D., a Representative, etc.-Continued "Will Democratic Apathy Defect Move To Make the Lafayette Square Opera House a Living Memorial Symbolic of the Spirit Which Has Always United America and Germany in Spite of All Storms and Years of War?" article appearing in Page appendix of Congressional Record of May 9, 1961 194 Lawler, Vanett, Music Educators National Conference, report en- titled, "The Arts in the Educational Program in the Soviet Union" - 43 Lockhart, Bill, president, Texas Art Educators Association, telegram to Chairman Thompson 75 McDowell, Hon. Harris B., Jr., a Representative in Congress from the State of Delaware: Excerpt from memorandum submitted on July 22, 1960, by Bernard W. Scholz, Chief, Public Assistance Division, to the Director of the District of Columbia Department of Public Welfare in connection with the "Second Precinct Rehabilita- tion Project" 315 "Is Washington, D.C., Really a Hick Town?" extension of re- marks in appendix of Congressional Record of May 23, 1960 - - - 326 Letter and information from the Library of Congress appearing in the appendix of the Congressional Record of September 14, 1959 316 Remarks to 36th annual meeting of the National Association of Schools of Music, Chicago, Ill., November 26, 1960 335 "The Department of Defense Is Using College and University Talent To Entertain Our Troops Abroad and Should Schedule Them To Appear Before Students of Other Countries-Man- kind Will Profit When Young Men and Women of All Nations and in Great Numbers Study and Learn Together, President Eisenhower Says," extension of remarks in appendix of Con- gressional Record of April 12, 1960 330 "The Municipal Government of Washington, D.C., Starves the Fine Arts at the Very Time the Soviet Union Is Spending Vast Sums To Prove Americans Are Cultureless Barbarians," extension of remarks in appendix of Congressional Record of February 15, 1960 322 Rockefeller, John D., 3d, letter to Chairman Thompson 363 Rogers, Charles B., Huntington Hartford Foundation, Pacific Palisades, Calif., letter to Chairman Thompson 359 Salmaggi, Felix W., New York Opera Festival, letter to Chairman Thompson 75 "Stockholm Reviewers Are Mixed in Reviews of U.S. Stage Troupe," article appearing in the New York Times, May 19, 1961 92 Taylor, Harold, Sarah Lawrence College, letter to Chairman Thomp- son 361 Thompson, Hon. Frank, Jr., chairman of the Select Subcommittee on Education: "An American Prize for Music and Art," article appearing in the appendix of the Congressional Record of March 21, 1961 155 "Fabulous Invalid's on Critical List," by John Crosby in the Washington Post of May 14, 1961 154 "National Cultural Center-Progress Reports by the National Federation of Music Clubs, the New York Times, and the Journal of the American Academy of Arts and Sciences," article appearing in the appendix of the Congressional Record of September 20, 1960 150 "U.S. Role in the Arts Is Found To Have Increased in Decade Since World War II," by Milton Bracker, in the New York Times of December 8, 1958 157 Weston, Harold, chairman, National Council on the Arts and Gov- ernment: Annual report-1961, press release 289 Letter to Pierre Salinger, press secretary to the President 289 Press release by National Council on the Arts and Government, dated June 6, 1957 80 Request for grant for proposed National Conference on the Arts and Government 300 Statement of 113 Testimony re H.R. 4172 76 Testimony re H.R. 4174 78 PAGENO="0008" PAGENO="0009" AID TO FINE ARTS MAY 15, 1961 HoUsE OF REPRESENTATIVES, SELECT SUBCOMMIrFEE ON EDUCATION OF TIlE COMMIrrEE ON EDUCATION AND LABOR, Washington, D.C. The subcommittee met at 10 a.m., pursuant to call, in room 429, Old House Office Building; Hon. Frank Thompson, Jr. (chairman of the subcommittee) presiding. Present: Representatives Thompson and Martin. Also present: Russell C. Derrickson, staff director; Charles E. Wil- son, assistant education chief; Mary Corbin, clerk to the subcommittee; and George Frain, acting counsel. Mr. THOMPSON. The subcommittee will be in order. The Select Subcommittee on Education is meeting this morning for hearings on the bill H.R. 4172 by Mr. Thompson of New Jersey; on H.R. 413 by Mr. Kearns of Pennsylvania, an identical bill; H.R. 3250, an identical bill by Mr. Daniels of New JerseyS H.R. 5408, an identical bill by Mr. Lindsay of New York; H.R. 6484 1y Mr. Halpern of New York; H.R. 3640 by Mrs. Bolton of Ohio; and I would like the record to show that in the other body on the bill 5. 741, the proposition is introduced by Mr. Humphrey and cosponsored by Mr. Clark, of Penn- sylvania; Mr. Douglas, of Illinois; Mr. Morse, of Oregon; Mr. Wil- liams, of New Jersey; Mr. Cooper, of Kentucky; Mr. Javits, of New York; and Mr. Long, of Missouri. Witnesses will be at liberty to testify also on the bill H.R. 4174, which I also introduced, and measures similar to it. These are H.R. 1942 by Mr. Kearns, H.R. 2227 by Mr. Chelf, H.R. 2275 by Mr. Powell, H.R. 3509 by Mr. Celler, and the companion bill in the Senate is 5. 785, which was introduced by Senator Clark, of Pennsylvania, and cosponsored by Senator Humphrey and Senator, Pell. (The bills referred to follow:) [HR. 4172, 87th Cong., 1st sess.] A BILL To provide for the establishment of a Federal Advisory Council on the Arts to assist In the growth and development of the fine arts Ia the Nation's Capital and else- where in the United States Be it enacted by the &rnate and House ot Representatives ot the United states of America in Congress assembled, That the Congress hereby finds and declares- (1) that the growth and flourishing of the arts depend upon freedom, imagination, and individual initiative; (2) that the encouragement of creative activity in the performance and practice of the arts, and of a widespread participation in and appreciation of the arts, is essential to the general welfare and the national interest; (3) that as workdays shorten and life expectancy lengthens, the arts will play an ever more important role in the lives of our citizens; and 1 PAGENO="0010" 2 AID TO FINE ARTS (4) that the encouragement of the arts, while primarily a matter for private and local initiative, is an appropriate matter of concern to the United States Government. Szc. 2. (a) There is hereby established in the Department of Health, Edu. cation, and Welfare a Federal Advisory Council on the Arts (hereafter in this Act referred to as the "Council"). The Council shall be composed of twenty-one members appointed by the President, by and with the advice and consent of the Senate, from among private citizens of the United States who are widely recog- nized for their knowledge of or experience in, or for the profound interest in, one or more of the arts and who collectively will provide an appropriate balance of representation among the major art fields including music, drama, dance, literature, architecture and allied arts, painting, sculpture, photography, graphic and craft arts, motion pictures, radio, and television. The President is requested in the making of such appointments to give consideration to such recommendations as may from time to time be submitted to him by leading national organizations in these fields. Each member of the Council shall hold office for a term of six years, except that (1) any member appointed to fill a vacancy occurring prior to the expiration of the term for which his prede- cessor was appointed shall be appointed for the remainder of such term, and (2) the terms of the members first taking office shall expire, as designated by the President at the time of appointment, seven at the end of the second year, seven at the end of the fourth year, and seven at the end of the sixth year after the date of enactment of this Act. No member of the Council shall be eligible for reappointment during the two-year period following the expiration of his term. The President shall designate one member of the Council to serve as its chairman. The Council shall meet at the call of the Chairman or the Secretary of Health, Education, and Welfare (hereafter in this Act referred to as the "Secretary"), but not less often than twice during each calendar year. Eleven members of the Council shall constitute a quorum. (b) The Council shall have an executive secretary who shall be appointed by the Secretary after consultation with the CounciL Within the limits of appro- priations available therefor, the Secretary shall provide necessary secretarial, clerical, and other staff assistance for the Council, its executive secretary, and its special committees. SEC. 3. (a) The Council shall (1) recommend ways to maintain and increase the cultural resources of the United States, (2) propose methods to encourage private initiative in the arts, (3) cooperate with local, State, and Federal departments and agencies to foster artistic and cultural endeavors and the use of the arts both nationally and internationally in the best interests of our country, and (4) strive to stimulate greater appreciation of the arts by our citizens. (b) To these ends the Council shall undertake studies of and make recom- mendations relating to appropriate methods, consistent with the policy set forth in the first section of this Act, for encouraging creative activity in the per- formance and practice of the arts and participation in and appreciation of the arts. In selecting subjects to be studied, the Council shall consider requests submitted to it by the heads of departments, agencies, and independent estab- lishments of the Federal Government. The Council shall make recommenda- tions in writing to the Secretary with respect to such studies; and the Secretary shall transmit such recommendations, together with his comments thereon, to the President and the Congress. In the selection of subjects to be studied and in the formulation of recommendations, the Council may obtain the advice of any interested and qualified persons and organizations, and the Secretary may appoint interested and qualified persons to assist the Council in making its studies from among those qualified persons recommended to him by the Council. SEC. 4. Members of the Council, and persons appointed to assist the Council in making its studies, while attending meetings of the Council or while engaged in the conduct of studies authorized by this Act, shall receive compensation at a rate to be fixed by the Secretary, but not exceeding $50 per diem, and shall be paid travel expenses, including per diem in lieu of subsistence, as authorized by law (5 U.S.C. 73b-2) for persons in the Government service employed intermittently. SEC. 5. (a) Any member of the Council appointed under this Act, any person appointed to assist the Council in making its studies, and any other person appointed, employed, or utilized in an advisory or consultative capacity under this Act is hereby exempted, with respect to such appointment, employment, or PAGENO="0011" AID TO FINE ARTS 3 utilization, from the operation of sections 281, 283, 284, and 1914 of title 18 of the United States Code, except as otherwise specified in subsection (b) of this section. (b) (1) The exemption granted by subsection (a) of this section shall not extend to the following acts performed as an officer or employee of the United States by any person so appointed, employed, or utilized: (A) The negotiation or execution of, or (B) the making of any recommendation with respect to, or (C) the taking of any other action with respect to, any individual contract or other arrangement under this Act with the private employer of such person or any corporation, joint stock company, association, firm, partnership, or other business entity in the pecuniary profits or contracts of which such person has any direct or indirect interest. (2) The exemption granted by subsection (a) of this section shall not, dur- ing the period of such appointment, employment, or utilization and the further period of two years after the termination thereof, extend to the prosecution or participation in the prosecution, by any person so appointed, employed, or utilized, of any claim against the Government involving any individual con- tract or other arrangement entered into pursuant to this Act concerning which the appointee had any responsibility during the period of such appointment, employment, or utilization. SEC. 6. There are hereby authorized to be appropriated to the Department of Health, Education, and Welfare such sums as may be necessary to carry out this Act, including expenses of professional, clerical, and stenographic assist- ance. Such appropriations shall be available for services as authorized by section 15 of the Act of August 2, 1946 (5 U.S.C. 55a). SEC. 7. This Act shall not be deemed to invalidate any provision in any Act of Congress or Executive order vesting authority in the Commission of Fine Arts. [HR. 413, 87th Cong., 1st sess.] A BILL To provide for the establishment of a Federal Advisory Council on the Arts to assist in the growth and development of the fine arts in the United States Be it enacted by the ~S'enate and House of Representatives of the United $tates of America in Congress assembled, That the Congress hereby finds and declares, and it is the policy of the Congress in enacting this Act- (1) that the growth and flourishing of the arts depend upon freedom, imagination, and individual initiative; (2) that the encouragement of creative activity in the performance and practice of the arts, and of a widespread participation in and appreciation of the arts, is essential to the general welfare and the national interest; (3) that as workdays shorten and life expectancy lengthens, the arts will play an ever more important role in the lives of our citizens; and (4) that the encouragement of the arts, while primarily a matter for private and local initiative, is an appropriate matter of concern to the United States Government. SEC. 2. (a) There is hereby established in the Department of Health, Educa- tion, and Welfare a Federal Advisory Council on the Arts (hereinafter in this Act referred to as the "Council"). The Council shall be composed of twenty- one members appointed by the President, from among private citizens of the United States who are widely recognized for their knowledge of or experience in, or for their profound interest in, one or more of the arts and who collectively will provide an appropriate balance of representation among the major art fields including music, drama, dance, literature, architecture and allied arts, painting, sculpture, photography, graphic and craft arts, motion pictures, radio, and television; and the President is requested in the making of such appointments to give consideration to such recommendations as may from time to time be sub- mitted to him by leading national organizations in these fields. Each member of the Council shall hold office for a term of six years, except that (1) any member appointed to fill a vacancy occurring prior to the expiration of the term for which his predecessor was appointed shall be appointed for the remainder of such term, and (2) the terms of the members first taking office shall expire, as designated by the President at the time of appointment, seven at the end of the second year, seven at the end of the fourth year, and seven at the end of the sixth year after the date of enactment of this Act. No member of the Council shall be eligible for reappointment during the two-year period following PAGENO="0012" 4 AID TO FINE ARTS the expiration of his term. The Council shall meet at the call of the Chairman or the Secretary of Health, Education, and Welfare (hereafter in this Act re- ferred to as the "Secretary"), but not less often than twice during each calendar year. The Council shall annually elect one of its members to serve as Chair- man until the next election. (b) The Council shall have an executive secretary who shall be appointed by the Secretary after consultation with the Council. Within the limits of appropriations available therefor, the Secretary shall provide the Council, its executive secretary, and members of its special committees, necessary secretarial, clerical, and other staff assistance. SEC. 3. (a) A major duty of the Council shall be to recommend ways to main- tain and increase the cultural resources of the United States. A primary pur- pose of the Council is to propose methods to encourage private initiative in the arts and its cooperation with local, State, and Federal departments or agencies to foster artistic and cultural endeavors. (b) To these ends the Council shall undertake studies of and make recom- mendations relating to appropriate methods, consistent with the policy set forth in the first section of this Act, for encouraging creative activity in the performance and practice of the arts and participation in and appreciation of the arts. In selecting subjects to be studied, the Council shall consider requests submitted to it by the heads of departments, agencies, and independent establishments of the Federal Government. The Council shall make recommendations in writing to the Secretary with respect to such studies. In the selection of subjects to be studied and in the formulation of recommendations, the Council may obtain the advice of any interested and qualified persons and organizations, and the Council may appoint interested and qualified persons to assist it in making its studies. SEC. 4. Members of the Council, and persons appointed to assist the Council in making its studies, while attending meetings of the Council or while engaged in the conduct of studies authorized by this Act, shall receive compensation at a rate to be fixed by the Secretary, but not exceeding $50 per diem, and shall be paid travel expenses, including per diem in lieu of subsistence, as authorized by law (5 U.S.C. 73b-2) for persons in the Government service employed intermittently. SEc. 5. (a) Any member of the Council appointed under this Act, any per- son appointed to assist the Council in making its studies, and any other person appointed, employed, or utilized in an advisory or consultative capacity under this Act is hereby exempted, with respect to such appointment, employment, or utilization, from the operation of sections 281, 283, 284, and 1914 of title 18 of the United States Code, except as otherwise specified in subsection (b) of this section. (b) (1) The exemption granted by subsection (a) of this section shall not extend to the following acts performed as an officer or employee of the United States by any person so appointed, employed, or utilized: (A) The negotiation or execution of, or (B) the making of any recommendation with respect to, or (C) the taking of any other action with respect to, any individual contract or other arrangement under this Act with the private employer of such per- son or any corporation, joint stock company, association, firm, partnership, or other business entity in the pecuniary profits or contracts of which such person has any direct or indirect interest. (2) The exemption granted by subsection (a) of this section shall not, dur- ing the period of such appointment, employment, or utilization and the further period of two years after the termination thereof, extend to the prosecution or participation in the prosecution, by any person so appointed, employed, or utilized, of any claims against the Government involving any individual contract or other arrangement entered into pursuant to this Act concerning which the appointee had any responsibility during the period of such appointment, em- ployment, or utilization. SEC. 6. There are hereby authorized to be appropriated to the Department of Health, Education, and Welfare such sums as may be necessary to carry out this Act, including expenses of professional, clerical, and stenographic assist- ance. Such appropriations shall be available for services as authorized by section 15 of the Act of August 2, 1946 (5 U.S.C. 55a). SEC. 7. This Act shall not be deemed to invalidate any provision in any Act of Congress or Executive order vesting authority in the Commission of Fine Arts. PAGENO="0013" AID TO FINE ARTS 5 [H.R. 3250, 87th Cong., 1st sess.) A BILL To provide for the establishment of a Federal Advisory Council on the Arts to assist in the growth and development of the fine arts in the United States Be it enacted by the Senate and Rouse of Representatives of the United States of America in Congress assembled, That the Congress hereby finds and declares, and it is the policy of the Congress in enacting this Act- (1) that the growth and flourishing of the arts depend upon freedom, imagination, and individual initiative; (2) that the encouragement of creative activity in the performance and practice of the arts, and of a widespread participation in and appreciation of the arts, is essential to the general welfare and the national interest; (3) that as workdays shorten and life expectancy lengthens, the arts will play an ever more important role in the lives of our citizens; and (4) that the encouragement of the arts, while primarily a matter for pri- vate and local initiative, is an appropriate matter of concern to the United States Government. SEc. 2. (a) There is hereby established in the Department of Health, Educa- tion, and Welfare a Federal Advisory Council on the Arts (hereinafter in this Act referred to as the "Council"). The Council shall be composed of twenty-one members appointed by the President, from among private citizens of the United States who are widely recognized for their knowledge of or experience in, or for their profound interest in, one or more of the arts and who collectively will pro- vide an appropriate balance of representation among the major art fields includ- ing music, drama, dance, literature, architecture and allied arts, painting, sculp- ture, photography, graphic and craft arts, motion pictures, radio, and television; and the President is requested in the making of such appointments to give con- sideration to such recommendations as may from time to time be submitted to him by leading national organizations in these fields. Each member of the Council shall hold office for a term of six years, except that (1) any member appointed to fill a vacancy occurring prior to the expiration of the term for which his predecessor was appointed shall be appointed for the remainder of such term, and (2) the terms of the members first taking office shall expire, as designated by the President at the time of appointment, seven at the end of the second year, seven at the end of the fourth year, and seven at the end of the sixth year after the date of enactment of this Act. No member of the Council shall be eligible for reappointment during the two-year period following the expiration of his term. The Council shall meet at the call of the Chairman or the Secretary of Health, Education, and Welfare (hereafter in this Act referred to as the "Secretary"), but not less often than .twice during each calendar year. The Council shall annually elect one of its members to serve as Chairman until the next election. (b) The Council shall have an executive secretary who shall be appointed by the Secretary after consultation with the Council. Within the limits of appro- priations available therefor, the Secretary shall provide the Council, its execu- tive secretary, and members of its special committees, necessary secretarial, clerical, and other staff assistance. SEC. 3. (a) A major duty of the Council shall be to recommend ways to main- tain and increase the cultural resources of the United States. A primary pur- pose of the Council is to propose methods to encourage private initiative in the arts and its cooperation with local, State, and Federal departments or agencies to foster artistic and cultural endeavors and the use of the arts in the best inter- ests of our country, and to stimulate greater appreciation of the arts by our citizens. (b) To these ends the Council shall undertake studies of and make recommen- dations relating to appropriate methods, consistent with the policy set forth in the first section of this Act, for encouraging creative activity in the performance and practice of the arts and participation in and appreciation of the arts. In selecting subjects to be studied, the Council shall consider requests submitted to it by the heads of departments, agencies, and independent establishments of the Federal Government. The Council shall make recommendations in writing to the Secretary with respect to such studies; and the Secretary shall transmit such recommendations, together with his comments thereon, to the President and the Congress. In the selection of subjects to be studied and in the formula- tion of recommendations, the Council may obtain the advice of any interested and qualified persons and organizations, and the Secretary may appoint inter- ested and qualified persons to assist the Council in making its studies from among those recommended to him by the Council. PAGENO="0014" 6 AID TO FINE ARTS SEC. 4. Members of the Council, and persons' appointed to assist the Council in making its studies, while attending meetings of the Council or while engaged in the conduct of studies authorized by this Act, shall receive compensation at a rate to be fixed by the Secretary, but not exceeding $50 per diem, and shall be paid travel expenses, including per diem in lieu of subsistence, as authorized by law (5 U.S.C. 73b-2) for persons in the Government service employed intermittently. SEC. 5. (a) Any member of the Council appointed under this Act, any per- son appointed to assist the Council in making its studies, and any other person appointed, employed, or utilized in an advisory or consultative capacity under this Act is hereby exempted, with respect to such appointment, employment, or utilization, from the operation of sections 281, 283, 284, and 1914 of title 18 of the United States Code, except as otherwise specified in subsection (b) of this section. (b) (1) The exemption granted by subsection (a) of this section shall not extend to the following acts performed as an officer or employee of the United States by any person so appointed, employed, or utilized: (A) The negotiation or execution of, or (B) the making of any recommendation with respect to, or (C) the taking of any other action with respect to, any individual contract or other arrangement under this Act with the private employer of such person or any corporation, joint stock company, association, firm, partnership, or other business entity in the pecuniary profits or contracts of which such person has any direct or indirect interest. (2) The exemption granted by subsection (a) of this section shall not, during the period of such appointment, employment, or utilization and the further period of two years after the termination thereof, extend to the prosecution or participation in the prosecution, by any person so appointed, employed, or utilized, of any claim against the Government involving any indi- vidual contract or other arrangement entered into pursuant to this Act concerning which the appointee bad any responsibility during the period of such appoint- ment, employment, or utilization. SEC. 6. There are hereby authorized to be appropriated to the Department of Health, Education, and Welfare such sums as may be necessary to carry out this Act, including expenses of professional, clerical, and stenographic assistance. Such appropriations shall be available for services as authorized by section 15 of the Act of August 2, 1946 (5 U.S.C. 55a). SEc. 7. This Act shall not be deemed to invalidate any provision in any Act of Congress or Executive order vesting authority in the Commission of Fine Arts. ________ [H.R. 5408, 87th Cong., 1st sess.] A BILL To provide for the establishment of a Federal Advisory Council on the Arts to assist in the growth and development of the fine arts in the United States Be it enacted by the Senate and House of Representatives of the United States of America in Congress assembled, That the Congress hereby finds and declares, and it is the policy of the Congress in enacting this Act- (1) that the growth and flourishing of the arts depend upon freedom, imagination, and individual initiative; (2) that the encouragement of creative activity in the performance and practice of the arts, and of a widespread participation in and appreciation of the arts, is essential to the general welfare and the national interest; (3) that as workdays shorten and life expectancy lengthens, the arts will play an ever more important role in the lives of our citizens; and (4) that the encouragement of the arts, while primarily a matter for private and local initiative, is an appropriate matter of concern to the United States Government. SEC. 2. (a) There is hereby established in the Department of Health, Educa- tion, and Welfare a Federal Advisory Council on the Arts (hereinafter in this Act referred to as the "Council"). The Council shall be composed of twenty-one members appointed by the President, by and with the advice and consent of the Senate, from among private citizens of the United States who are widely recog- nized for their knowledge of or experience in, or for their profound interest in, one or more of the arts and who collectively will provide an appropriate bal- ance of representation among the major art fields including music, drama, dance, literature, architecture and allied arts, painting, sculpture, photography, graphic PAGENO="0015" AID TO FINE ARTS and craft arts, motion pictures, radio, and television; and in view of the liii- portance of including on the Council persons possessing a high degree of pro- fessional or technical competence in relation to the various art fields, the Presi- dent is requested in the making of such appointments to give consideration to such recommendations as may from time to time be submitted to him by leading national organizations in these fields and not more than three persons, appointed primarily for their general interest in the promotion, preservation, or patronage of the arts, shall serve on the Council at any one time. Each member of the Council shall hold office for a term of six years, except that (1) any member appointed to fill a vacancy occurring prior to the expiration of the term for which his predecessor was appointed shall be appointed for the remainder of such term, and (2) the terms of the members first taking office shall expire, as designated by the President at the time of appointment, seven at the end of the second year, seven at the end of the fourth year, and seven at the end of the sixth year after the date of enactment of this Act. No member of the Council shall be eligible for reappointment during the two-year period following the expiration of his term. The Council shall meet at the call of the Chairman or the Secretary of Health, Education, and Welfare (hereafter in this Act referred to as the "Secretary"), but not less often than twice during each calendar year. The Council shall annually elect one of its members to serve as Chairman until the next election. Eleven members of the Council shall constitute a quorum. (b) The Council shall have an executive secretary who shall be appointed by the Secretary after consultation with the Council. Within the limits of ap- propriations available therefor, the Secretary shall provide the Council, its executive secretary, and members of its special committees, necessary secretarial, clerical, and other staff assistance. SEC. 3. (a) A major duty of the Council shall be to recommend ways to main- tain and increase the cultural resources of the United States. A primary pur- pose of the Council is to propose methods to encourage private initiative in the arts and its cooperation with local, State, and Federal departments or agencies to foster artistic and cultural endeavors and the use of the arts both nationally and internationally in the best interests of our country, and to stimulate greater appreciation of the arts by our citizens. (b) To these ends the Council shall undertake studies of and make recom- mendations relating to appropriate methods, consistent with the policy set forth in the first section of this Act, for encouraging creative activity in the perform- ance and practice of the arts and participation in and appreciation of the arts. In selecting subjects to be studied the Council shall consider requests submitted to it by the heads of departments, agencies, and independent establishments of the Federal Government. The Council shall make recommendations in writing to the Secretary with respect to such studies; and the Secretary shall transmit such recommendations, together with his comments thereon, to the President and the Congress. In the selection of subjects to be studied and in the formulation of recommendations, the Council may obtain the advice of any interested and qualified persons and organizations, and the Secretary may appoint interested and qualified persons to assist the Council in making its studies from among those recommended to him by the Council. SEC. 4. Members of the Council, and persons appointed to assist the Council in making its studies, while attending meetings of the Council or while engaged in the conduct of studies authorized by this Act, shall receive compensation at a rate to be fixed by the Secretary, but not exceeding $50 per diem, and shall be paid travel expenses, including per diem in lieu of subsistence, as authorized by law (5 U.S.C. 73b-2) for persons in the Government service employed in- termittently. SEC. 5. (a) Any member of the Council appointed under this Act, any person appointed to assist the Council in making its studies, and any other person ap- pointed, employed, or utilized in an advisory or consultative capacity under this Act is hereby exempted, with respect to such appointment, employment, or utili- zation, from the operation of sections 281, 283, 284, and 1914 of title 18 of the United States Code, except as otherwise specified in subsection (b) of this section. (b) (1) The exemption granted by subsection (a) of this section shall not extend to the following acts performed as an officer or employee of the United States by any person so appointed, employed, or utilized: (A) The negotiation or execution of, or (B) the making of any recommendation with respect to, or (C) the taking of any other action with respect to, any individual contract PAGENO="0016" 8 AID TO FINE ARTS or other arrangement under this Act with the private employer of such person or any corporation, joint stock company, association, firm, partnership, or other business entity in the pecuniary profits or contracts of which such person has any direct or indirect interest. (2) The exemption granted by subsection (a) of this section shall not, during the period of such appointment, employment, or utilization and the further period of two years after the termination thereof, extend to the prosecution or participation in the prosecution, by any person so appointed, employed, or utilized, of any claim against the Government involving any individual contract or other arrangement entered into pursuant to this Act concerning which the appointee bad any responsibility during the period of such appointment, em- ployment, or utilization. SEC. 6. There are hereby authorized to be appropriated to the Department of Health, Education, and Welfare such sums as may be necessary to carry out this Act, including expenses of professional, clerical, and stenographic assist- ance. Such appropriations shall be available for services as authorized by sec- tion 15 of the Act of August 2, 1946 (5 U.S.C. 55a). SEC. 7. This Act shall not be deemed to invalidate any provision in any Act of Congress or Executive order vesting authority in the Commission of Fine Arts and the Advisory Committee on the Arts. [RR. 6484, 87th Cong., 1st sess.] A BILL To provide for the establishment of a Federal Advisory Council on the Arts to assist in the growth and development of the fine arts in the Nation's Capital and else- where in the United States Be it enacted by the Senate and House of Representatives of the United States of America in Congress assembled, That the Congres hereby finds and declares- (1) that the growth and flourishing of the arts depend upon freedom, imagination, and individual initiative; (2) that the encouragement of creative activity in the performance and practice of the arts, and of a widespread participation in and appreciation of the arts, is essential to the general welfare and the national interest; (3) that as workdays shorten and life expectancy lengthens, the arts will play an evermore important role in the lives of our citizens; and (4) that the encouragement of the arts, while primarily a matter for private and local initiative, is an appropriate matter of concern to the United States Government. SEC. 2. (a) There is hereby established in the Department of Health, Edu- cation, and Welfare a Federal Advisory Council on the Arts (hereafter in this Act referred to as the "Council"). The Council shall be composed of twenty- one members appointed by the President, by and with the advice and consent of the Senate, from among private citizens of the United States who are widely recognized for their knowledge of or experience in, or for their profound inter- est in, one or more of the arts and who collectively will provide an appropriate balance of representation among the major art fields including music, drama, dance, literature, architecture and allied arts, painting, sculpture, photography, graphic and craft arts, motion pictures, radio, and television. The President is requested in the making of such appointments to give consideration to such recommendations as may from time to time be submitted to him by leading national organizations in these fields. Each member of the Council shall hold office for a term of six years, except that (1) any member appointed to fill a vacancy occurring prior to the expiration of the term for which his predecessor was appointed shall be appointed for the remainder of such term, and (2) the terms of the members first taking office shall expire, as designated by the President at the time of appointment, seven at the end of the second year, seven at the end of the fourth year, and seven at the end of the sixth year after the date of enactment of this Act. No member of the Council shall be eligible for reappointment during the two-year period following the expiration of his term. The President shall designate one member of the Council to serve as its chairman. The Council shall meet at the call of the Chairman or the Secretary of Health, Education, and Welfare (hereafter in this Act referred to as the "Secretary"), but not less often than twice during each calendar year. Eleven members of the Council shall constitute a quorum. PAGENO="0017" AID TO FINE ARTS 9 (b) The Council shall have an executive secretary who shall be appointed by the Secretary after consultation with the Council. Within the limits of appro- priations available therefor, the Secretary shall provide necessary secretarial, clerical, and other staff assistance for the Council, its executive secretary, and its special committees. SEC. 3 (a) The Council shall (1) recommend ways to maintain and increase the cultural resources of the United States, (2) propose methods to encourage private initiative in the arts, (3) cooperate with local, State, and Federal de- partments and agencies to foster artistic and cultural endeavors and the use of the arts both nationally and internationally in the best interests of our coun- try, and (4) strive to stimulate greater appreciation of the arts by our citizens. (b) To these ends the Council shall undertake studies of and make recom- mendations relating to appropriate methods, consistent with the policy set forth in the first section of this Act, for encouraging creative activity in the per- formance and practice of the arts and participation in and appreciation of the arts. In selecting subjects to be studied, the Council shall consider requests submitted to it by the heads of departments, agencies, and independent estab- lishments of the Federal Government. The Council shall make recommenda- tions in writing to the Secretary with respect to such studies; and the Secre- tary shall transmit such recommendations, together with his comments thereon, to the President and the Congress. In the selection of subjects to be studied and in the formulation of recommendations, the Council may obtain the advice of any interested and qualified persons and organizations, and the Secretary may appoint interested and qualified persons to assist the Council in making its studies from among those qualified persons recommended to him by the Council. SEC. 4. Members of the Council, and persons appointed to assist the Council in making its studies, while attending meetings of the Council or while engaged in the conduct of studies authorized by this Act, shall receive compensation at a rate to be fixed by the Secretary, but not exceeding $50 per diem, and shall be paid travel expenses, including per diem in lieu of subsistence, as authorized by law (5 U.S.C. 73b-2) for persons in the Government service employed inter- mittently. SEC. 5. (a) Any member of the Council appointed under this Act, any person appointed to assist the Council in making its studies, and any other person appointed, employed, or utilized in an advisory or consultative capacity under this Act is hereby exempted, with respect to such appointment, employment, or utilization, from the operation of sections 281, 283, 284, and 1914 of title 18 of the United States Code, except as otherwise specified in subsection (b) of this section. (b) (1) The exemption granted by subsection (a) of this section shall not extend to the following acts performed as an officer or employee of the United States by any person so appointed, employed, or utilized: (A) The negotiation or execution of, or (B) the making of any recommendation with respect to, or (C) the taking of any other action with respect to, any individual contract or other arrangement under this Act with the private employer of such person or any corporation, joint stock company, association, firm, partnership, or other business entity in the pecuniary profits or contracts of which such person has any direct or indirect interest. (2) The exemption granted by subsection (a) of this section shall not, during the period of such appointment, employment, or utilization and the further pe- riod of two years after the termination thereof, extend to the prosecution or participation in the prosecution, by any person so appointed, employed, or util- ized, of any claim against the Government involving any individual contract or other arrangement entered into pursuant to this Act concerning which the ap- pointee had any responsibility during the period of such appointment, employ- ment, or utilization. SEC. 6. There are hereby authorized to be appropriated to the Department of Health, Education, and Welfare such sums as may be necessary to carry out this Act, including expenses of professional, clerical, and stenographic assistance. Such appropriations shall be available for services as authorized by section 15 of the Act of August 2, 1946 (5 U.S.C. 55a). SEC. 7. This Act shall not be deemed to invalidate any provision in any Act of Congress or Executive order vesting authority in the Commission of Fine Arts. 70259-G1---------2 PAGENO="0018" 10 AID TO FINE ARTS [HR. 3640, 87th Cong., 1st sess.) A BILL To provide for the establishment of a Federal Advisory Council on the Arts to assist in the growth and development of the fine arts in the United States Be it enacted by the Senate and House of Representatives of the United States of America in Congress assembled, That the Congress hereby finds and declares, and it is the policy of the congress in enacting this Act- (1) that the growth and flourishing of the arts depend upon freedom, un- agination, and individual initiative; (2) that the encouragement of creative activity in the performance and practice of the arts, and of a widespread participation in and appreciation of the arts, is essential to the general welfare and the national interest; (3) that as workdays shorten and life expectancy lengthens, the arts will play an ever more important role in the lives of our citizens; and (4) that the encouragement of the arts, while primarily a matter for private and local initiative, is an appropriate matter of concern to the United States Government. SEc. 2. (a) There is hereby established in the Department of Health, Education, and Welfare a Federal Advisory Council on the Arts (hereinafter in this Act referred to as the "Council"). The Council shall be composed of twenty-one members appointed by the President, by and with the advice and consent of the Senate, from among private citizens of the United States who are widely recog- nized for their knowledge of or experience in, or for their profound interest in, one or more of the arts and who collectively will provide an appropriate balance of representation among the major art fields including music, drama, dance, literature, architecture and allied arts, painting, sculpture, photography, graphic and craft arts, motion pictures, radio, and television; and the President is re- quested in the making of such appointments to give consideration to such rec- ommendations as may from time to time be submitted to him by leading national organizations in these fields. Each member of the Council shall hold office for a term of six years, except that (1) any member appointed to fill a vacancy occurring prior to the expiration of the term for which his predecessor was ap- pointed shall be appointed for the remainder of such term, and (2) the terms of the members first taking office shall expire, as designated by the President at the time of appointment, seven at the end of the second year, seven at the end of the fourth year, and seven at the end of the sixth year after the date of enactment of this Act. No member of the Council shall be eligible for reap- pointment during the two-year period following the expiration of his term. The Council shall meet at the call of the Chairman or the Secretary of Health, Edu- cation, and Welfare (hereafter in this Act referred to as the "Secretary"), but not less often than twice during each calendar year. The Council shall an- nually elect one of its members to serve as Chairman until the next election. Eleven members of the Council shall constitute a quorum. (b) The Council shall have an executive secretary who shall be appointed by the Secretary after consultation with the Council. Within the limits of ap- propriations available therefor, the Secretary shall provide the Council, its executive secretary, and members of its special committees, necessary secre- tarial, clerical, and other staff assistance. SEc. 3. (a) A major duty of the Council shall be to recommend ways to main- tain and increase the cultural resources of the United States. A primary pur- pose of the Council is to propose methods to encourage private initiative in the arts and its cooperation with local, State, and Federal departments or agencies to foster artistic and cultural endeavors and the use of the arts in the best in- terests of our country, and to stimulate greater appreciation of the arts by our citizens. (b) To these ends the Council shall undertake studies of and make recommen- dations relating to appropriate methods, consistent with the policy set forth in the first section of this Act, for encouraging creative activity in the performance and practice of the arts and participation in and appreciation of the arts. In selecting subjects to be studied, the Council shall consider requests submitted to it by the heads of departments, agencies, and independent establishments of the Federal Government. The Council shall make recommendations in writing to the Secretary with respect to such studies; and the Secretary shall transmit such recommendations, together with his comments thereon, to the President and the Congress. In the selection of subjects to be studied and in the formulation of recommendations, the Council may obtain the advice of any interested and qualified persons and organizations, and the Secretary may appoint interested PAGENO="0019" AID TO FINE ARTS 11 and qualified persons to assist the Council in making its studies from among those recommended to him by the Council. SEC. 4. Members of the Council, and persons appointed to assist the Council in making its studies, while attending meetings of the Council or while engaged in the conduct of studies authorized by this Act, shall receive compensation at a rate to be fixed by the Secretary, but not exceeding $50 per diem, and shall be paid travel expenses, including per diem in lieu of subsistence, so authorized by law (5 U.S.C. 73b-2) for persons In the Government service employed intermittently. SEC. 5. (a) Any member of the Council appointed under this Act, any person appointed to assist the Council in making its studies, and any other person appointed, employed, or utilized in an advisory or consultative capacity under this Act is hereby exempted, with respect to such appointment, employment, or utilization, from the operation of sections 281, 283, 284, and 1914 of title 18 of the United States Code, except as otherwise specified in subsection (b) of this section. (b) (1) The exemption granted by subsection (a) of this section shall not extend to the following acts performed as an officer or employee of the United States by any person so appointed, employed, or utilized: (A) The negotia- tion or execution of, or (B) the making of any recommendation with respect to, or (C) the taking of any other action with respect to, any individual contract or other arrangement under this Act with the private employer of such person or any corporation, joint stock company, association, firm, partnership, or other busi- ness entity in the pecuniary profits or contracts of which such person has any direct or indirect interest. (2) The exemption granted by subsection (a) of this section shall not, during the period of such appointment, employment, or utilization and the further period of two years after the termination thereof, extend to the prosecu- tion or participation in the prosecution, by any person so appointed, employed, or utilized, of any claim against the Government involving any individual contract or other arrangement entered into pursuant to this Act concerning which the appointee had any responsibility during the period of such appointment, employ- ment, or utilization. SEC. 6. There are hereby authorized to be appropriated to the Department of Health, Education, and Welfare such sums as may be necessary to carry out this Act, including expenses of professional, clerical, and stenographic assist- ance. Such appropriations shall be available for services as authorized by section 15 of the Act of August 2, 1946 (5 U.S.C. 55a). SEC. 7. This Act shall not be deemed to invalidate any provision in any Act of Congress or Executive order vesting authority in the Commisison of Fine Arts. [5. 741, 87th Cong., 1st sess.] A BILL To provide for the establishment of a Federal Advisory Council on the Arts to assist in the growth and development of the fine arts in the United States Be it enacted by the Senate and House of Representatives of the United States of America in Uongress assembled, That the Congress hereby finds and declares- (1) that the growth and flourishing of the arts depend upon freedom, imagination, and individual initiative; (2) that the encouragement of creative activity in the performance and practice of the arts, and of a widespread participation in and appreciation of the arts, is essential to the general welfare and the national interest; (3) that as workdays shorten and life expectancy lengthens, the arts will play an evermore important role in the lives of our citizens; and (4) that the encouragement of the arts, while primarily a matter for private and local initiative, is an appropriate matter of concern to the United States Government. SEC. 2. (a) There is hereby established in the Department of Health, Educa- tion, and Welfare a Federal Advisory Council on the Arts (hereafter in this Act referred to as the "Council"). The Council shall be composed of twenty- one members appointed by the President, by and with the advice and consent of the Senate, from among private citizens of the United States who are widely recognized for their knowledge of or experience in, or for their profound interest in, one or more of the arts and who collectively will provide an appropriate PAGENO="0020" 12 AID TO FINE ARTS balance of representation among the major art fields including music, drama, dance, literature, architecture and allied arts, painting, sculpture, photography, graphic and craft arts, motion pictures, radio, and television. The President is requested in the making of such appointments to give consideration to such recommendations as may from time to time be submitted to him by leading national organizations in these fields. Each member of the Council shall hold office for a term of six years, except that (1) any member appointed to fill a vacancy occurring prior to the expiration of the term for which his predecessor was appointed shall be appointed for the remainder of such term, and (2) the terms of the members first taking office shall expire, as designated by the Presi- dent at the time of appointment, seven at the end of the second year, seven at the end of the fourth year, and seven at the end of the sixth year after the date of enactment of this Act. No member of the Council shall be eligible for reappointment during the two-year period following the expiration of his term. The President shall designate one member of the Council to serve as its chair- man. The Council shall meet at the call of the Chairman or the Secretary of Health, Education, and Welfare (hereafter in this Act referred to as the "Secretary"), but not less often than twice during each calendar year. Eleven members of the Council shall constitute a quorum. (b) The Council shall have an executive secretary who shall be appointed by the Secretary after consultation with the Council. Within the limits of ap- propriations available therefor, the Secretary shall provide necessary secre- tarial, clerical, and other staff assistance for the Council, its executive secre- tary, and its special committees. SEC. 3. (a) The Council shall (1) recommend ways to maintain and increase the cultural resources of the United States, (2) propose methods to encourage private initiative in the arts, (3) cooperate with local, State, and Federal de- partments and agencies to foster artistic and cultural endeavors and the use of the arts both nationally and internationally in the best interests of our country, and (4) strive to stimulate greater appreciation of the arts by our citizens. (b) To these ends the Council shall undertake studies of and make recom- mendations relating to appropriate methods, consistent with the policy set forth in the first section of this Act, for encouraging creative activity in the perform- ance and practice of the arts and participation in and appreciation of the arts. In selecting subjects to be studied, the Council shall consider requests sub- mitted to it by the heads of departments, agencies, and independent establish- ments of the Federal Government. The Council shall make recommendations in writing to the Secretary with respect to such studies; and the Secretary shall transmit such recommendations, together with his comments thereon, to the President and the Congress. In the selection of subjects to be studied and in the formulation of recommendations, the Council may obtain the advice of any interested and qualified persons and organizations, and the Secretary may appoint interested and qualified persons to assist the Council in making its studies from among those qualified persons recommended to him by the Council. SEc. 4. i\Iembers of the Council, and persons appointed to assist the Council in making its studies, while attending meetings of the Council or while engaged in the conduct of studies authorized by this Act, shall receive compensation at a rate to be fixed by the Secretary, but not exceeding $50 per diem, and shall be paid travel expenses, including per diem in lieu of subsistence, as authorized by law (5 U.S.C. 73b-2) for persons in the Government service employed intermittently. SEC. 5. (a) Any member of the Council appointed under this Act, any person appointed to assist the Council in making its studies, and any other person appointed, employed, or utilized in an advisory or consultative capacity under this Act is hereby exempted, with respect to such appointment, employment, or utilization, from the operation of sections 281, 283, 284, and 1914 of title 18 of the United States Code, except as otherwise specified in subsection (b) of this section. (b) (1) The exemption granted by subsection (a) of this section shall not extend to the following acts performed as an officer or employee of the United States by any person so appointed, employed, or utilized: (A) The negotiation or execution of, or (B) the making of any recommendation with respect to, or (C) the taking of any other action with respect to, any individual contract or other arrangement under this Act with the private employer of such person or any corporation, joint stock company, association, firm, partnership, or other PAGENO="0021" AID TO FINE ARTS 13 business entity in the pecuniary profits or contracts of which such person has any direct or indirect interest. (2) The exemption granted by subsection (a) of this section shall not, dur- ing the period of such appointment, employment, or utilization and the further period of two years after the termination thereof, extend to the prosecution or participation in the prosecution, by any person so appointed, employed, or uti- lized, of any claim against the Government involving any individual contract or other arrangement entered into pursuant to this Act concerning which the ap- pointee had any responsibility during the period of such appointment, employ- ment, or utilization. SEC. 6. There are hereby authorized to be appropriated to the Department of Health, Education, and Welfare such sums as may be necessary to carry out this Act, including expenses of professional, clerical, and stenographic assist- ance. Such appropriations shall be available for services as authoribed by section 15 of the Act of August 2, 1946 (5 U.S.C. 55a). SEC. 7. This Act shall not be deemed to invalidate any provision in any Act of Congress or Executive order vesting authority in the Commission of Fine Arts. [HR. 4174, 87th Cong., 1st sess.] A BILL To establish a program of grants to States for the development of programs and projects iii the arts, to assist in the growth of the fin carts in the Nation's Capital, and for other purposes Be it enacted by the Senate and House of Representatives of the United States of America in Congress assembled, SHORT TITLE SECTION 1. This Act may be cited as the "National Cultural Development Act". DECLARATIONS OF PURPOSE SEC. 2. The purpose of this Act is- (1) to assist the several States to inventory their existing programs in the major art fields including music, drama, dance, literature, architecture and allied arts, painting, sculpture, photography, graphic and craft arts, motion pictures, radio, and television, to survey the need for additional pro- grams in the major art fields, and to develop programs and projects for public and other nonprofit activities in the arts in such a manner as will, in conjunction with existing programs and facilities, furnish adequate pro- grams, facilities, and services in the arts to all their people; (2) to assist the several States in aiding existing projects and programs which are making a significant public contribution in one or more of the major art fields; (3) to assist in the construction of public and other nonprofit centers for the performance, demonstration, teaching, or exhibition of the arts; (4) to assist the several States to protect and preserve sites, buildings, or objects of national or local historical, architectural, or artistic significance; (5) to assist the several States in developing projects and programs do- signed to supply leadership, training, and experience in the art fields; and (6) to authorize the Secretary to make grants for the conduct of re- search, experiments, and demonstrations relating to the effective develop- ment and utilization of facilities and resources in the various art fields. AUTHORIZATION OF APPROPRIATIONS SEC. 3. In order to assist the States in carrying out the purposes of this Act, there is hereby authorized to be appropriated $5,200,000 for the fiscal year be- ginning July 1, 1961, and a like amount for each subsequent fiscal year. STATE PLANS SEC. 4. (a) Any State which desires to take advantage of the benefits of this Act must submit a State plan which- (1) designates a State agency (hereinafter in this title referred to as the "State agency") as the sole agency for the administration of the State plan; / PAGENO="0022" 14 AID TO FINE ARTS (2) sets forth a program under which funds paid to the State under this Act will be expended solely on programs and projects approved by the State agency which carry out one or more of the purposes of this Act as set forth in section 2; (3) provides that the State agency will make such reports, in such form and containing such information, as the Secretary may from time to time require; (4) provides for the coordination of the projects and programs carried out under the State plan with the artistic and cultural programs and activities of educational and other public and nonprofit institutions in the State; and (5) provides for such fiscal control and fund accounting procedures as may be necessary to assure proper disbursement of and accounting for Federal funds paid to the State under this Act. (b) The Secretary shall approve any State plan and any modification thereof which complies with the provisions of subsection (a). (c) The State plan may include standards for determination of the Federal share of the cost of art programs and projects approved in the State for assist- ance under this Act; except that no such standards shall provide for a Federal share of more than 50 per centum of the cost of any such program or project. The Secretary shall approve any such standards and any modifications thereof which are not inconsistent with the purposes of this Act. ALLOTMENTS AND PAYMENTS TO STATES SEc. 5. (a) (1) For the fiscal year beginning July 1, 1961, each State for which a State plan has been approved under section 4(b) of this Act prior to or during such fiscal year shall be entitled for such year to an allotment not to exceed $100,000 (as determined by the Secretary within the limits of available appropriations). (2) Of the total amount appropriated under section 3 of this Act for the fiscal year beginning July 1, 1962, and each succeeding fiscal year, each State which on the first day of such fiscal year has in effect a State plan approved by the Secretary under section 4(b) of this Act shall be entitled to an allotment equal to such amount divided by the total number of such States. (3) Each allotment made under this section shall be available for payment of the Federal share of the costs of programs and projects carried out under a State plan approved by the Secretary under section 4(b) of this Act. (b) The Secretary shall determine the payments to be made under this Act and certify to the Secretary of the Treasury the amounts thereof. Upon receipt of such certification, the Secretary of the Treasury shall, prior to audit or settlement by the General Accounting Office, pay in accordance with such certifi- cation. Sums allotted to a State for a fiscal year under this section and remain- ing unobligated at the end of such year shall be made available to such State for the same purposes for the next fiscal year in addition to the sums allotted to such State for such next fiscal year. (c) For the purposes of this section, the term "Federal share" with respect to any program or project means the proportion of the cost of such program or project to be paid by the Federal Government, and shall be determined as follows: (1) If the State plan contains standards for the determination of the Federal share of such cost approved by the Secretary as provided in section 4(c), the Federal share with respect to such program or project shall be determined by the State agency in accordance with such standards. (2) If the State plan does not contain such standards, the Federal share shall be the amount, not more than 50 per centum of the cost of the program or project involved, as determined by the State agency and approved by the Secretary. WITHHOLDING OF CERTIFICATION SEC. 6. Whenever the Secretary, after reasonable notice and opportunity for hearing to the State agency, finds- (1) that such agency is not complying substantially with the provisions of this Act or the terms and conditions of its State plan approved under this Act; (2) that any funds paid to such agency under this Act have been diverted from the purposes for which they were allotted or paid; PAGENO="0023" AID TO FINE ARTS 15 (3) that any assurance given in the State plan is not being or cannot be carried out; or (4) that adequate State funds are not being provided annually for the direct administration of the State plan, the Secretary shall forthwith notify the Secretary of the Treasury and the State agency that no further certification will be made under this Act with respect to such State agency until there is no longer any default or failure to comply or the diversion has been corrected, or, if compliance or correction is impossible, until the State repays or arranges the repayment of the Federal funds which have been improperly diverted or expended. DEFINITIONS SEC. 7. For the purposes of this Act- (1) The term "Secretary" means the Secretary of Health, Education, and Welfare; and (2) The term "State" means a State, the District of Columbia, or Puerto Rico. [H.R. 1942, 87th Cong., 1st sess.} A BILL To establish a program of grants to States for the development of programs and projects in the arts, and for other purposes Be it enacted by the senate and Honse of Representatives of the United $tate8 of America in Congress assembled, SHORT TITLE SECTION 1. This Act may be cited as the "National Cultural Development Act". DECLARATION OF PIJRPOSE SEC. 2. The purpose of this Act is- (1) to assist the several States to inventory their existing programs in the major art fields, including music, drama, dance, literature, architecture and allied arts, painting, sculpture, photography, graphic and craft arts, motion pictures, radio, and television, to survey the need for additional programs in the major art fields, and to develop programs and projects for public and other nonprofit activities in the arts in such a manner as will, in conjunction with existing programs and facilities, furnish adequate pro- grams, facilities, and services in the arts to all their people; (2) to assist in the construction of public and other nonprofit centers for the performance, demonstration, teaching, or.exhibition of the arts; (3) to assist the several States to protect and preserve sites, buildings, or objects of national or local historical, architectural, or artistic sig- nificance; (4) to assist the several States in developing projects and programs de- signed to supply leadership, training, and experience in the art fields; and (5) to authorize the Secretary to make grants for the conduct of research, experiments, and demonstrations relating to the effective development and utilization of facilities and resources in the various art fields. AUThORIzATION OF APPROPRIATIONS SEC. 3. In order to assist the States in carrying out the purposes of this Act, there is hereby authorized to be appropriated $5,200,000 for the fiscal year begin- ning July 1, 1961, and a like amount for each subsequent fiscal year. STATE PLANS SEC. 4. (a) Any State which desires to take advantage of the benefits of this Act must submit a State plan which- (1) designates a State agency (hereinafter in this title referred to as the "State agency") as the sole agency for the administration of the State plan; (2) sets forth a program under which funds paid to the State under this Act will be expended solely on programs and projects approved by the State agency which carry out one or more of the purposes of this Act as set forth in section 2; PAGENO="0024" 16 AID TO FINE ARTS (3) provides that the State agency will make such reports, in such form and contaning such information, as the Secretary may from time to time require; (4) provides for the coordination of the projects and programs carried out under the State plan with the artistic and cultural programs and activities of educational and other public and nonprofit institutions in the State; and (5) provides for such fiscal control and fund accounting procedures as may be necessary to assure proper disbursement of and accounting for Fed- eral funds paid to the State under this Act. (b) The Secretary shall approve any State plan and any modification thereof which complies with the provisions of subsection (a). (c) The State plan may include standards for determination of the Federal share of the cost of art programs and projects approved in the State for assist- ance under this Act; except that no such standards shall provide for a Federal share of more than 50 per centum of the cost of any such program or project. The Secretary shall approve any such standards and any modifications thereof which are not inconsistent with the purposes of this Act. ALLOTMENTS AND PAYMENTS TO STATES SEC. 5. (a) (1) For the fiscal year beginningJuly 1, 1961, each State for which a State plan has been approved under section 4(b) of this Act prior to or during such fiscal year shall be entitled for such year to an allotment not to exceed ~1O0,O00 (as determined by the Secretary within the limits of available appro- priations). (2) Of the total amount appropriated under section 3 of this Act for the fiscal year beginning July 1, 1962, and each succeeding fiscal year, each State which on the first day of such fiscal year has in effect a State plan approved by the Secretary under section 4(b) of this Act shall be entitled to an allotment equal to such amount divided by the total number of such States. (3) Each allotment made under this section shall be available for payment of the Federal share of the costs of programs and projects carried out under a State plan approved by the Secretary under section 4(b) of this Act. (b) The Secretary shall determine the payments to be made under this Act and certify to the Secretary of the Treasury the amounts thereof. Upon receipt of such certification, the Secretary of the Treasury shall, prior to audit or settlement by the General Accounting Office, pay in accordance with such certification. Sums allotted to a State for a fiscal year under this section and remaining unobligated at the end of such year shall be made available to such State for the same purposes for the next fiscal year in addition to the sums allotted to such State for such next fiscal year. (c) For the purposes of this section, the term "Federal share" with respect to any program or project means the proportion of the cost of such program or project to be paid by the Federal Government, and shall be determined as follows: (1) If the State plan contains standards for the determiation of the Federal share of such cost approved by the Secretary as provided in section 4(c), the Federal share with respect to such program or project shall be determined by the State agency in accordance with such standards. (2) If the State plan does not contain such standards, the Federal share shall be the amount, not more than 50 per centum of the cost of the program or project involved, as determined by the State agency and approved by the Secretary. WITHHOLDING OF CERTIFICATION SEc. 6. Whenever the Secretary, after reasonable notice and opportunity for hearing to the State agency, finds- (1) If the State plan contains standards for the determination of the of this Act or the terms and conditions of its State plan approved under this Act; (2) that any funds paid to such agency under this Act have been diverted from the purposes for which they were allotted or paid; (3) that any assurance given in the State plan is not being or cannot be carried out; or (4) that adequate State funds are not being provided annually for the direct administration of the State plan, PAGENO="0025" AID TO FINE ARTS 17 the Secretary shall forthwith notify the Secretary of the Treasury and the State agency that no further certification will be made under this Act with respect to such State agency until there is no longer any default or failure to comply or the diversion has been corrected, or, if compliance or correction is impossible, until the State repays or arranges the repayment of the Federal funds which have been improperly diverted or expended. DEFINITIONS SEC. 7. For the purposes of this Act- (1) The term "Secretary" means the Secretary of Health, Education, and Welfare; and (2) the term "State" means a State, the District of Columbia, or Puerto Rico. [HR. 2227, 87th Cong.,, 1st sess.] A BthL To establish a program of grants to States for the development of programs and projects in the arts, and for other purposes Be it enacted by the Senate and House of Representatives of the United States of America in Congress assembled, SHORT TITLE SI~cTIoN 1. This Act may be cited as the "National Cultural Development Act". DECLARATION OF PURPOSE SEC. 2. The purpose of this Act is- (1) to assist the several S'tates to inventory their existing programs in the major art fields including music, drama, dance, literature, architecture and allied arts, painting, sculpture, photography, graphic and craft arts, motion pictures, radio, and television, to survey the need for additional pro- grams in the major art fields, and to develop programs and projects for public and other nonprofit activities in the arts in such a manner as will, in conjunction with existing programs and facilities, furnish adequate pro- grams, facilities, and services in the arts to all their people; (2) to assist in the construction of public and other nonprofit centers for the performance, demonstration, teaching, or exhibition of the arts; (3) to assist the several States, to protect and preserve sites, buildings, or objects of national or local historical, architectural, or artistic significance; (4) to assist the several States in developing projects and programs de- signed to supply leadership, training, and experience in the art fields; and (5) to authorize the Secretary to make grants for the conduct of research, experiments, and demonstrations relating to the effective development and utilization of facilities and resources in the various art fields. AUTHORIZATION OF APPROPRIATIONS SEC. 3. In order to assist the States in carrying out the purposes of this Act, there is hereby authorized to be appropriated $5,200,000 for the fiscal year be- ginning July 1, 1961, and a like amount for each subsequent fiscal year. STATE PLANS SEC. 4. (a) Any State which desires to take advantage of the benefits of this Act must submit a State plan which- (1) designates a State agency (hereinafter in this title referred to as the "State agency") as the sole agency for the administration of the State plan; (2) sets forth a program under which funds paid to the State under this Act will be expended solely on programs and projects approved by the State agency which carry out one or more of the purposes of this Act as set forth in section 2; (3) provides that the State agency will make such reports, in such form and containing such information, as the Secretary may from time to time require; PAGENO="0026" 18 AID TO FINE ARTS (4) provides for the coordination of the projects and programs carried out under the State plan with the artistic and cultural programs and ac- tivities of educational and other public and nonprofit institutions in the State; and (5) provides for such fiscal control and fund accounting procedures as may be necessary to assure proper disbursement of and accounting for Federal funds paid to the State under this Act. (b) The Secretary shall approve any State plan and any modification thereof which complies with the provisions of subsection (a). (c) The State plan may include standards for determination of the Federal share of the cost of art programs and projects approved in the State for assist- ance under this Act; except that no such standards shall provide for a Federal share of more than 50 per centum of the cost of any such program or project. The Secretary shall approve any such standards and any modifications thereof which are not inconsistent with the purposes of this Act. ALLOTMENTS AND PAYMENTS TO STATES SEC. 5. (a) (1) For the fiscal year beginning July 1, 1961, each State for which a State plan has been approved under section 4(b) of this Act prior to or dur- ing such fiscal year shall be entitled for such year to an allotment not to exceed $100,000 (as determined by the Secretary within the limits of available appro- priations). (2) Of the total amount appropriated under section 3 of this Act for the fiscal year beginning July 1, 1962, and each succeeding fiscal year, each State which on the first day of such fiscal year has in effect a State plan approved by the Secretary under section 4(b) of this Act shall be entitled to an allotment equal to such amount divided by the total number of such States. (3) Each allotment made under this section shall be available for payment of the Federal share of the costs of programs and projects carried out under a State plan approved by the Secretary under section 4(b) of this Act. (b) The Secretary shall determine the payments to be made under this Act and certify to the Secretary of the Treasury the amounts thereof. Upon receipt of such certification, the Secretary of the Treasury shall, prior to audit or settle- nient by the General Accounting Office, pay in accordance with such certifica- tion. Sums allotted to a State for a fiscal year under this section and remaining unobligated at the end of such year shall be made available to such State for the same purposes for the next fiscal year in addition to the sums allotted to such State for such next fiscal year. - (c) For the purposes of this section, the term "Federal share" with respect to any program or project means the proportion of the cost of such program or project to be paid by the Federal Government, and shall be determined as follows: (1) If the State plan contains standards for the determination of the Federal share of such cost approved by the Secretary as provided in sec- tion 4(c), the Federal share with respect to such program or project shall be determined by the State agency in accordance with such standards. (2) If the State plan does not contain such standards, the Federal share shall be the amount, not more than 50 per centum of the cost of the program or project involved, as determined by the State agency and approved by the Secretary. WITHHOLDING OF CERTIFICATION SEC. 6. Whenever the Secretary, after reasonable notice and opportunity for hearing to the State agency, finds- (1) that such agency is not complying substantially with the provisions of this Act or the terms and conditions of its State plan approved under this Act; (2) that any funds paid to such agency under this Act have been diverted from the purposes for which they were allotted or paid; (3) that any assurance given in the State plan is not being or cannot be carried out; or (4) that adequate State funds are not being provided annually for the direct administration of the State plan, the Secretary shall forthwith notify the Secretary of the Treasury and the State agency that no further certification will be made under his Act with respect to such State agency until there is no longer any default or failure to comply or the diversion has been corrected, or, if compliance or correction is impossible, until the State repays or arranges the repayment of the Federal funds which have been improperly diverted or expended. PAGENO="0027" AID TO FINE ARTS 19 DEFINITIONS SEC. 7. For the purposes of this Act- (1) The term "Secretary" means the Secretary of Health, Education, and Welfare; and (2) The term "State" means a State, the District of Columbia, or Puerto Rico. [HR. 2275, 87th Cong., li5t sess.] A BILL To establish a program of grants to States for the dexelopme.nt of programs and projects in the arts,, and for other purposes Be it enacted by the Senate and House of Representatives of the United States of America in Congress assembled, SHORT TITLE SECTIoN 1. This Act may be cited as the "National Cultural Development Act". DECLARATION OF PURPOSE SEC. 2. The purpose of this Act is- (1) to assist the several States to inventory their existing programs in the major art fields including music, drama, dance, literature, architecture and allied arts, painting, sculpture, photography, graphic and craft arts, motion pictures, radio, and television, to survey the need for additional programs in the major art fields and to develop programs and projects for public and other nonprofit activities in the arts in such a manner as will, in conjunction with existing programs and facilities, furnish adequate programs, facilities, and services in the arts to all their people; (2) to assist in the construction of public and other nonprofit centers for the performance, demonstration, teaching, or exhibition of the arts; (3) to assist the several States to protect and preserve sites, buildings, or objects of national or local historical, architectural, or artistic sig- nificance; (4) to assist the several States in developing projects and programs designed to supply leadership, training, and experience in the art fields; and (5) to authorize the Secretary to make grants for the conduct of research, experiments, and demonstrations relating to the effective development and utilization of facilities and resources in the various art fields. AUTHORIZATION OF APPROPRIATIONS SEC. 3. In order to assist the States in carrying out the purposes of this Act, there is hereby authorized to be appropriated $5,200,000 for the fiscal year beginning July 1, 1961, and a like amount for each subsequent fiscal year. STATE PLANS SEC. 4. (a) Any State which desires to take advantage of the benefits of this Act must submit a State plan which- (1) designates a State agency (hereinafter in this title referred to as the "State agency") as the sole agency for the administration of the State plan; (2) sets forth a program under which funds paid to the State under this Act will be expended solely on programs and projects approved by the State agency which carry out one or more of the purposes of this Act as set forth in section 2; (3) provides that the State agency will make such reports, in such form and containing such information, as the Secretary may from time to time require; (4) provides for the coordination of the projects and programs carried out under the State plan with the artistic and cultural programs and activi- ties of educational and other public and nonprofit institutions in the State; and (5) provides for such fiscal control and fund accounting procedures as may be necessary to assure proper disbursement of and accounting for Federal funds paid to the State under this Act. PAGENO="0028" 20 Afl~ TO FINE ARTS (b) The Secretary shall approve any State plan and any modification thereof which complies with the provisions of subsection (a). (c) The State plan may include standards for determination of the Federal share of the cost of art programs and projects approved in the State for assist- ance under this Act; except that no such standards shall provide for a Federal share of more than 50 per centum of the cost of any such program or project. The Secretary shall approve any such standards and any modifications thereof which are not inconsistent with the purposes of this Act. ALLOTMENTS AND PAYMENTS TO STATES SEC. 5. (a) (1) For the fiscal year beginning July 1, 1961, each State for which a State plan has been approved under section 4(b) of this Act prior to or during such fiscal year shall be entitled for such year to an allotment not to exceed $100,000 (as determined by the Secretary within the limits of available appropriations). (2) Of the total amount appropriated under section 3 of this Act for the fiscal year beginning July 1, 1962, and each succeeding fiscal year, each State which on the first day of such fiscal year has in effect a State plan approved by the Secretary under section 4(b) of this Act shall be entitled to an allotment equal to such amount divided by the total number of such States. (3) Each allotment made under this section shall be available for payment of the Federal share of the costs of programs and projects carried out under a State plan approved by the Secretary under section 4(b) of this Act. (b) The Secretary shall determine the payments to be made under this Act and certify to the Secretary of the Treasury the amounts thereof. Upon receipt of such certification, the Secretary of the Treasury shall, prior to audit or settle- ment by the General Accounting Office, pay in accordance with such certification. Sums allotted to a State for a fiscal year under this section and remaining un- obligated at the end of such year shall be made available to such State for the same purposes for the next fiscal year in addition to the sums allotted to such State for such next fiscal year. (c) For the purposes of this section, the term "Federal share" with respect to any program or project means the proportion of the cost of such program or project to be paid by the Federal Government, and shall be determined as follows: (1) If the State plan contains standards for the determination of the Federal share of such cost approved by the Secretary as provided in section 4(c), the Federal share with respect to such program or project shall be determined by the State agency in accordance with such standards. (2), If the State plan does not contain such standards, the Federal share shall be the amount, not more than 50 per centum of the cost of the program or project involved, as determined by the State agency and approved by the Secretary. WITRHOLDING OF CESTIFICATION SEC. 6. Whenever the Secretary, after reasonable notice and opportunity for hearing to the State agency, finds- (1) that such agency is not complying substantially with the provisions of this Act or the terms and conditions of its State plan approved under this Act; (2) that any funds paid to such agency under this Act have been diverted from the purposes for which they were allotted or paid; (3) that any assurance given in the State plan is not being or cannot be carried out; or (4) that adequate State funds are not being provided annually for the direct administration of the State plan, the Secertary shall forthwith notify the Secretary of the Treasury and the State agency that no further certification will be made under this Act with respect to such State agency until there is no longer any default or failure to comply or the diversion has been corrected, or, if compliance or correction is impossible, until the State repays or arranges the repayment of the Federal funds which have been improperly diverted or expended. PAGENO="0029" AID TO FINE ARTS 21 DEFINITIONS SEC. 7. For the purposes of this Act- (1) The term "Secretary" means the Secretary of Health, Education, and Welfare; and (2). the term "State" means a State, the District of Columbia, or Puerto Rico. [HR. 3509,. 87th Cong., 1st sess.] A BILL To establish a program of grants to States for the development of programs and projects in the arts, and for other purposes Be it enacted by the Senate and House of Representatives of the United States of America in Congress assembled, SHORT TITLE SECTION 1. This Act may be cited as the "National Cultural Development Act". DECLARATION OF PURPOSE SEC. 2. The purpose of this Act is- (1) to assist the several States to inventory their existing programs in the major art fields including music, drama, dance, literature, architecture and allied arts, painting, sculpture, photography, graphic and craft arts, motion pictures, radio, and television, to survey the need for additional * programs in the major art fields and to develop programs and projects for public and other nonprofit activities in the arts in such a manner as will, in conjunction with existing programs and facilities, furnish adequate pro- grams, facilities, and services in the arts to all their people; (2) to assist in the construction of public and other nonprofit centers for the performance, demonstration, teaching, or exhibition of the arts; (3) to assist the several States to protect and preserve sites, buildings, or objects of national or local historical, architectural, or artistic significance; (4) to assist the several States in developing projects and programs de- signed to supply leadership, training, and experience in the art fields; and (5) to authorize the Secretary to make grants for the conduct of research, experiments, and demonstrations relating to the effective development and utilization of facilities and resources in the various art fields. AUTHORIZATION OF APPROPRIATIONS SEC. 3. In order to assist the States in carrying out the purposes of this Act, there is hereby authorized to be appropriated $5,200,000 for the fiscal year be- ginning July 1, 1961, and a like amount for each subsequent fiscal year. STATE PLANS SEC. 4. (a) Any State which desires to take advantage of the benefits of this Act must submit a State plan which- (1) designates a State agency (hereinafter in this title referred to as the "State agency") as the sole agency for the administration of the State plan; (2) sets forth a program under which funds paid to the State under this Act will be expended solely on programs and projects approved by the State agency which carry out one or more of the purposes of this Act as set forth in section 2; (3) provides that the State agency will make such reports, in such form and containing such information, as the Secretary may from time to time require; (4) provides for the coordination of the projects and programs carried out under the State plan with the artistic and cultural programs and activities of educational and other public and nonprofit institutions in the State; and (5) provides for such fiscal control and fund accounting procedures as may be necessary to assure proper disbursement of and accounting for Fed- eral funds paid to the State under this Act. PAGENO="0030" 22 MD TO ~ ARTS (b) The Secretary shall approve any State plan and any modification thereof which complies with the provisions of subsection (a). (c) The State plan may include standards for determination of the Federal share of the cost of art programs and projects approved in the State for assist- ance under this Act; except that no such standards shall provide for a Federal share of more than 50 per centum of the cost of any such program or project. The Secretary shall approve any such standards and any modifications thereof which are not inconsistent with the purposes of this Act. ALLOTMENTS AND PAYMENTS TO STATES SEC. 5. (a) (1) For the fiscal year beginning July 1, 1961, each State for which a State plan has been approved under section 4(b) of this Act prior to or during such fiscal year shall be entitled for such year to an allotment not to exceed $100,000 (as determined by the Secretary within the limits of available appropriations). (2) Of the total amount appropriated under section 3 of this Act for the fiscal year beginning July 1, 1962, and each succeeding fiscal year, each State which on the first day of such fiscal year has in effect a State plan approved by the Secre- tary under section 4(b) of this Act shall be entitled to an allotment equal to such amount divided by the total number of such States. (3) Each allotment made under this section shall be available for payment of the Federal share of the costs of programs and projects carried out under a State plan approved by the Secretary under section 4(b) of this Act. (b) The Secretary shall determine the payments to be made under this Act and certify to the Secretary of the Treasury the amounts thereof. Upon receipt of such certification, the Secretary of the Treasury shall, prior to audit or settle- ment by the General Accounting Office, pay in accordance with such certification. Sums allotted to a State for a fiscal year under this section and remaining unobligated at the end of such year shall be made available to such State for the same purposes for the next fiscal year in addition to the sums allotted to such State for such next fiscal year. (c) For the purposes of this section, the term "Federal share" with respect to any program or project means the proportion of the cost of such program or project to be paid by the Federal Government, and shall be determined as follows: (1) If the State plan contains standards for the determination of the Federal share of such cost approved by the Secretary as provided in section 4(c), the Federal share with respect to such program or project shall be determined by the State agency in accordance with such standards. (2) If the State plan does not contain such standards, the Federal share shall be the amount, not more than 50 per centum of the cost of the program or project involved, as determined by the State agency and approved by the Secretary. WITHHOLDING OF CERTIFICATION SEC. 6. Whenever the Secretary, after reasonable notice and opportunity for hearing to the State agency, finds- (1) that such agency is not complying substantially with the provisions of this Act or the terms and conditions of its State plan approved under this Act; (2) that any funds paid to such agency under this Act have been diverted from the purposes for which they were allotted or paid; (3) that any assurance given in the State plan is not being or cannot be carried out; or (4) that adequate State funds are not being provided annually for the direct administration of the State plan, the Secretary shall forthwith notify the Secretary of the Treasury and the State agency that no further certification will be made under this Act with respect to such State agency until there is no longer any default or failure to comply or the diversion has been corrected, or, if compliance or correction is impossible, until the State repays or arranges the repayment of the Federal funds which have been improperly diverted or expended. PAGENO="0031" AID TO FINE ARTS 23 DEFINITIONS SEc. 7. For the purposes of this Act- (1) The term "Secretary" means the Secretary of Health, Education, and Welfare; and (2) the term "State" means a State, the District of Columbia, or Puerto Rico. [S. 785, 87th Cong.~, 1st sess..] A BILL To establish a program of grants to States for the development of programs and projects in the arts, and for other purposes Be it enacted by the senate and Hoiise of Representatives of the United Btates of America in Congress assembled, SHORT TITLE SECTION 1. This Act may be cited as the "National Cultural Development Act'~ DECLARATION OF PURPOSE SEC. 2. The purpose of this Act is-. (1) to assist the several States to inventory their existing programs in the major art fields including music, drama, dance, literature, architecture and allied arts, painting, sculpture, photography, graphic and craft arts, motion pictures, radio, and television, to survey the need for additional programs in the major art fields, and to develop programs and projects for public and other nonprofit activities in the arts in such a manner as will, in conjunction with existing programs and facilities, furnish adequate pro- grams, facilities, and services in the arts to all their people; (2) to assist the several States in aiding existing projects and programs which are making a significant public contribution in one or more of the major art fields; (3) to assist in the construction of public and other nonprofit centers for the performance, demonstration, teaching, or exhibition of the arts; (4) to assist the several States to protect and preserve sites, buildings, or objects of national or local historical, architectural, or artistic significance; (5) to assist the several States in developing projects and programs designed to supply leadership, training, and experience in the art fields; and (6) to authorize the Secretary to make grants for the conduct of research, experiments, and demonstrations relating to the effective development and utilization of facilities and resources in the various art fields. AUTHORIZATION OF APPROPRIATIONS SEC. 3. In order to assist the States in carrying out the purposes of this Act, there is hereby authorized to be appropriated ~5,2OO,OOO for the fiscal year beginning July 1, 1961, and a like amount for each subsequent fiscal year. STATE PLANS SEC. 4. (a) Any State which desires to take advantage of the benefits of this Act must submit a State plan which- (1) designates a State agency (hereinafter in this title referred to as the "State agency") as the sole agency for the administration of the State plan; (2) sets forth a program under which funds paid to the State under this Act will be expended solely on programs and projects approved by the State agency which carry out one or more of the purposes of this Act as set forth in section 2; (3) provides that the State agency will make such reports, in such form and containing such information, as the Secretary may from time to time require; (4) provides for the coordination of the projects and programs carried out under the State plan with the artistic and cultural programs and activities of educational and other public and nonprofit institutions in the State; and PAGENO="0032" 24 AID TO FLNE ARTS (5) provides for such fiscal control and fund accounting procedures as may be necessary to assure proper disbursement of and accounting for Federal funds paid to the State under this Act. (b) The Secretary shall approve any State plan and any modification thereof which complies with the j1rovisious of subsection (a). (c) The State plan may include standards for determination of the Federal share of the cost of art programs and projects approved in the State for assist- ance under this Act; except that no such standards shall provide for a Federal share of more than 50 per centum of the cost of any such program or project. The Secretary shall approve any such standards and any modifications thereof which are not inconsistent with the purposes of this Act. ALLOTMENTS AND PAYMENTS TO STATES SEC. 5. (a) (1) For the fiscal year beginning July 1, 1961, each State for which a State plan has been approved under section 4(b) of this Act prior to or during such fiscal year shall be entitled for such year to an allotment not to exceed $100,000 (as determined by the Secretary within the limits of available appropriations). (2) Of the total amount appropriated under section 3 of this Act for the fiscal year beginning July 1, 1962, and each succeeding fiscal year, each State which on the first day of such fiscal year has in effect a State plan approved by the Secretary under section 4(b) of this Act shall be entitled to an allotment equa] to such amount divided by the total number of such States. (3) Each allotment ir.ade under this section shall be available for payment of the Federal share of the costs of programs and projects carried out under a State plan approved by the Secretary under section 4(b) of this Act. (b) The Secretary shall determine the payments to be made under this Act and certify to the Secretary of the Treasury the amounts thereof. Upon receipt of such certification, the Secretary of the Treasury shall, prior to audit or settlement by the General Accounting Office, pay in accordance with such cer- tification. Sums allotted to a State for a fiscal year under this section and remaining unobliged at the end of such year shall be made available to such State for the same purposes for the next fiscal year in addition to the sums allotted to such State for such next fiscal year. (c) For the purposes of this section, the term "Federal share" with respect to any program or project means the proportion of the cost of such program or project to be paid by the Federal Government, and shall be determined as follows: (1) If the State plan contains standards for the determination of the Federal share of such cost approved by the Secretary as provided in section 4(c), the Federal share with respect to such program or project shall be determined by the State agency in accordance with such standards. (2) If the State plan does not contain such standards, the Federal share shall be the amount, not more than 50 per centum of the cost of the program or project involved, as determined by the State agency and approved by the Secretary. WITHHOLDING OF CERTIFICATION SEC. 6. Whenever the Secretary, after reasonable notice and opportunity for hearing to the State agency, finds- (1) that such agency is not complying Substantially with the provisions of this Act or the terms and conditions of its State plan approved under this Act; (2) that any funds paid to such agency under this Act have been diverted from the purposes for which they were allotted or paid; (3) that any assurance given in the State plan is not being or cannot be carried out; or (4) that adequate State funds are not being provided annually for the direct administration of the State plan, the Secretary shall forthwith notify the Secretary of the Treasury and the State agency that no further certification will be made under this Act with respect to such State agency until there is no longer any default or failure to comply or the diversion has been corrected, or, if compliance or correction is impossible, until the State repays or arranges the repayment of the Federal funds which have been improperly diverted or expended. PAGENO="0033" AID TO FINE ARTS 25 DEFINITIONS SEC. 7. For the purposes of this Act- (1) The term "Secretary" means the Secretary of Health, Education, and Welfare; and (2) The term "State" means a State, the District of Columbia, or Puerto Rico. Mr. THOMPSON. The first witness this morning is Mrs. Jouett Shouse, Chairman of the President's Music Committee of the "People- to-People" program, which is sponsored by the U.S. Information Agency. Mrs. Shouse also is a trustee of the National Cultural Center, and vice president of the National Symphony Orchestra. Mrs. Shouse, do you have a prepared statement? STATEMENT OP MRS. JOUETT SHOUSE, CHAIRMAN, PRESIDENT'S MUSIC COMMITTEE, "PEOPLE-TO-PEOPLE" PROGRAM, U.S. INFOR- MATION AGENCY, TRUSTEE, NATIONAL CULTURAL CENTER Mrs. SHOUSE. No, Mr. Chairman, I do not. Mr. THOMPSON. You may proceed as you wish. We are delighted to have you with us this morning. Mrs. SHOUSE. Thank you very much. I am very glad to be here because I think that this bill, 4172, is definitely a step in the right direction. We all know that we need a basic Government policy for encouraging the arts because none exists now. It is a long time overdue for the Federal Government to develop such a policy, and I am heart- ily in favor of it; but I also see the few dangers and hope that they can be overcome, the danger of such an advisory commission being lost in such a big organization as the HEW. I think I am interpreting your thought that this bill is just a step in the right direction and that you hope that it will develop into a Cabinet post, which is what many of us are looking forward to hav- ing, but that cannot be accomplished immediately and this will give an opportunity for a complete survey of the performing arts in our country. This can be accomplished and the status can be given im- portance if the right people are chosen to direct the work. I am hoping that the bill will pass and that this will `be accom- plished because it is so very much needed. Such a Council, for example, could work very closely with the Na- tional Cultural Center and develop that program so it is most repre- sentative, which is what the trustees hope. Incidentally, I am not speaking for any of the groups that I am identified with. Two points which I would like to mention are that I am vice presi- dent of the National Symphony Orchestra and also on the board of the American Symphony Orchestra League. But I have discussed this many times with my associates in all four of these groups and they are looking forward to the time when they can have such an Advisory Council active in Washington because of the great need. I think we have to have such a survey made by the right body because there are many conclusions that our country is waiting for. One of those conclusions is contained in the bill 4174 which calls for Government aid to our various music and performing art organizations. 70259 O-~61-6 PAGENO="0034" 26 Am TO FINE ARTS I believe that we must first have the Advisory Council on the Arts. That, to me, seems the more important of the two bills because that Advisory Council can set principles and basic purposes and present to the American people the status which we have arrived at in our cul- tural life, and that is increasing daily which is shown by the reports which the President's Music Committee gets out annually. There is a great moral value, I feel, in these bills. It shows that our Government is interested and is not lagging behind the interest that other governments have shown, such as the Council in Great Britain which is assuming great importance; and I believe that such a council in our country would also assume great importance and be encouraging to the young people who need music in their lives. I h~ow that those who are following me are going to talk more in detail but, unless there are any questions, I feel that I have just touched on the high spots and have nothing more that I want to suggest unless you have any questions that you would like to ask me, Mr. Chairman. Mr. THo~irsoN. I thank you very much for your testimony, and your analysisis quite right. I feel, however meritorious the objectives are of the grant bills which are long overdue, tha.t a logical first step is the long overdue and long awaited Federal Advisory Council or Commission, or what- ever anyone wants to call it. We call it a Council now. At various times it has been called a. Commission. It is in the Department of Health, Education, and Welfare, a huge Department, very largely because it needs some place in which to reside. There are a great many people who have long felt that we should have a Cabinet position for cultural affairs including the arts. I agree with that. I think that it is a matter which will get attention within a matter of months or certainly within a very few years. In the meantime, however, the activities of the Government in the arts are so spread out and so poorly coordinated that this would offer great opportunity to give them a sense of direction. It is difficult to believe that only 3 or 4 years ago the Government for the first time gave music recognition by the charter granted to the National Music Council. We have concentrated, I am afraid, entirely too much on auto- mobiles and bathtubs and things like that, and I think it is now quite proper a time to do this. I thank you very much for appearing. Maybe Mr. Martin has some questions. Mr. MARTIN. Mrs. Shouse, I notice that you mentioned that you felt there was perhaps a danger in setting this program up under Health, Education, and Welfare. Do you have a specific recommendation in regard to that? Mrs. SHOUSE. The only point that the chairman mentioned, that it is such a huge organization that I hope that the appointees will be strong enough to keep their identity a.nd keep the identity of the Council before the American people because I think this is something, as the chairman spoke of, that the American people want very much. They want Government recognition of the arts in our country and the time has come when it is needed. PAGENO="0035" AID TO FINE ARTS 27 Mr. MARTIN. Do you have any specific thoughts in regard to how these problems should be tackled by this Council if set up? For in- stance, specifically in the field of music, I know that in some of the European nations the opera and classical music are a great deal more popular than our so-called popular music. It enjoys a great recep- tion in the United States. Do you have any specific thoughts in regard to how this Council could go about educating our youth in the United States to enjoy the opera and the classical music? Mrs. SH0UsE. The Council could be very influential in influencing the programs and appropriations in the States, I would think, by showing the need for music education. I know that some of the States are reducing the amount of their appropriation for the study of music. In spite of that, there are more instruments bought today than ever before in our history. It is a very large number. We have more symphony orchestras than we have ever had before, not full time, but the major ones are increasing in the number of weeks each year that they play. There is a great surge of music and I believe it is important to recognize the interest that is not only there but is latent. I believe that music is so basic to the general well-being of our peo- ple, young and old, that such an Advisory Council would pinpoint many things that need to be done and help them along, hurry them along. I do not know whether that answers your question or not. I believe that the direction that this Council on the Arts could give would be of tremendous help and also would help our people who are making trips to other parts of the world because they would have the Council to refer to for all kinds of information and help. Mr. THOMPSON. Thank you very much, Mrs. Shouse. Our next witness is Mr. Herman Kenin, president of the American Federation of Musicians of the AFL-CIO. Thank you very much for coming. Mr. Kenin, you have a transportation problem facing you. You may proceed as you wish. STATEMENT OP HERMAN KENIN, PRESIDENT, AMERICAN PEDERATION OP MUSICIANS, AFL-CIO Mr. KENIN. Thank you very much. I am delighted to be here. My name is Herman Kenin. I am president of the American Fed- eration of Musicians of the United States and Canada, AFL-CIO, with offices at 425 Park Avenue, New York City. I am here today in my official capacity as spokesman for more than a quarter of a million professional instrumentalists. But I voice, too, my personal views as a private citizen devoted to the arts and particu- larly to music. I might add that I speak for our union membership as lovers of music, also. Certainly no person would undertake a career in the economically hazardous and largely unrewarding profession of music were it not for his love of the art. I urge upon this subcommittee, your full committee, and upon the Members of this 87th Congress enactment into law of H.R. 4172 and H.R. 4174. PAGENO="0036" 28 AID TO FI~ ARTS Neither bill-nor the~two together-provides the bricks and mortar needed so desperately to repair the tottering foundations of our great American musical heritage. But they do provide a start. Their enactment by this Congress could mean that in this area, at least, we are not operating in the awful twilight of too little and too late to preserve our national character and world leadership. Neither of these bills, Mr. Chairman, goes far enough. The Federal Advisory Council provided for in H.R. 4172 is not on the Cabinet level, as it should be. And I was delighted, Mr. Chairman, to hear an expression from you this morning that you favored the ultimate Cabinet level position. And the approach of H.R. 4174 to grants in aid is excessively modest. Its enactment, however, would be a.n affirmative adjunct to the Federal Arts Council. What, other than its physical safety, is more important to the sur- vival of a nation than its culture? Why is it that America stands alone among the major powers in persistently ignoring this fact of life? We ignored it here at home even while our Marshall plan dollars were being used by beneficiary nations to nurture their own national arts. We continue to ignore it today when it has been demonstrated that our best ambassadors abroad have been from the thinning ranks of.those who speak in the universal language of music. It is to be assumed that the first task of the Advisory Council on the Arts would be to survey our needs and to report on them. This assess- ment of our dereliction should-like the news of the first sputnik- rattle every window in the Nation. That will be good medicine, indeed. We need to have our nerv~es- jangled and our consciences troubled. We need to do something, Mr. Chairman, and do it now. For some years now, the American Federation of Musicians has been studying in depth the troubles of our symphony orchestras. We have a mass of information on this topic-all of it is distressingly gloomy. It demonstrates conclusively that serious music is doomed in the United States unless the Federal and State Governments help. Rather than quote our findings, let me instead point to the recent survey of the Education and Public Welfare Division of the Library of Congress. Forty-seven of the 50 States responded to the question of how much aid is given to the arts. The summary, printed in the February 2 Congressional Record, is shocking. In all of the 47 States only $202,825 was devoted to music. Only six States' made any contri- bution whatever specifically to music. As H.R. 4174 presently is written, it contemplates matching Federal funds for grants to the arts made by the several States with a maxi- mum grant of $100,000 annually to any State. We musicians feel that this is totally inadequate for music, to say nothing of the other per- forming arts. Yet, availability of even limited matching funds should stimulate investigation by the States and local communities into this serious condition of the arts. As some of you gentlemen who have fought so long and so valiantly for legislative action in this field know, the word "subsidy" engenders fear that Government dollars foreshadow Government control. This is a strawman that history belies in this country and all other countries outside the Iron Curtain. "Subsidy," in some minds, conjures visions of a move toward soms- thing un-American. Nothing could be further from fact. The Home- stead Act did much to settle these United States; land grants to the PAGENO="0037" AID TO FINE ARTS 29 railroads helped make us the greatest industrial nation; airlines, merchant marine, and science subsidies contributed to this Nation's mighty sinews. In the field of commerce, subsidy is accepted as sound fundamental Government policy. But, in the cullural field, it is somehow transmuted into something evil. When Government supports libraries, museums-even pays to preP- serve the whooping crane from extinction-why then is there objec- tion to subsidy vitally needed to prevent the extinction of the career musician? I repeat, Mr. Chairman, this is nonsense that we can afford no longer. TJnion musicians are qualified experts on subsidy-in reverse. Our Government depends upon gratis services of Federation musicians for the music that accompanies its messages over the Voice of America. It is our free music that sells Treasury bonds and sparks recruiting drives. Some 60 percent of all music broadcast to our Armed Forces in Korea and on occupation duty is the free contribution of Federa- tion musicians. The radio information service to war veterans, heard over 2,100 radio stations every week is tuned to recording rights given by our union. There are many other governmental services that, strangely enough, appropriate nothing for their music-borne inf or- mation at home and abroad, which are beneficiaries of the generosity of our union musicians. Mr. Chairman, I urge upon you and this committee that neither of these bills is a matter of politics, but I am comforted by the recol- lection that our President has indicated support for a U.S. Arts Foundation. In October 1960 he said in a statement to Equity maga- zine, and I quote: I am in full sympathy with the proposal for a federally supported foundation to provide encouragement and opportunity to nonprofit private and civic groups in the performing arts. When so many other nations officially reeognize and support the performing arts as part of their national cultural heritage, it seems to me unfortunate that the United States has been so slow in coming to a similar recognition. I will not attempt to improve on th~e language of our President. Mr. Chairman and members of the subcommittee, I thank you for your patience and consideration. Mr. THOMPSON. I thank you, Mr. Kenin. I am really quite ashamed, following your testimony, that I have been so conservative in asking for grants. I am pragmatic, however, and I think that we will be extremely lucky if we get as much as is. reflected in H.R. 4174. There seems to be a consensus among the many, many people in- terested in this type of legislation that we should have, at the Cabinet level, an officer concerned with cultural affairs. S We are at the age now, particularly in this committee, of creatmg instant scientists and instant mathematicians and language experts and maybe, if the Soviets do something as dramatic in the field of music as they have done in the field of space, we can get something. Mr. KENIN. Well, they have, Mr. Chairman. The impact of it perhaps has not reached us but those in this field recognize what has happened in the field of the arts, praticularly with respect to instru- mental music. PAGENO="0038" 30 AID TO FI~ ARTS I have talked to many of our instrumentalists who have come back from their tours under ANTA. I have talked to Dr. Roy Harris, the American composer who was there on a mission last year for the State Department and, although I do not want to use the Soviet Government as an example that we ought to follow, they have aroused the editors in this country about the need of providing these instant scientists that you are talking about. But there is enough evidence here that we are losing talented youngsters to other fields. I think that is a tragic loss not measurable in dollars. Mr. THo~rrsoN. This legislation is not designed to put us in com- petition with the Soviets or anyone else. This should have been done with the foundation of the Republic. There is no question about that. It is in a sense remedial, to have us catch up. When we have the end of the cold war, if we ever do, we will still be a nation with requirements for cultural life because we will still be concentrating perhaps too much. on material things. I thank you very much for your testimony. Mr. Martin? Mr. MARTIN. I have no questions. Mr. KENIN. Thank you very much. Mr. THoi~irsoN. Is Dr. Gorton here? Our next witness is Dr. Thomas Gorton, the president of the Na- tional Association of Schools of Music and director of the School of Fine Arts at the University of Kansas. Thank you very much for coming, Doctor. STATEMENT OP DR. THOMAS GORTON, PRESIDENT, NATIONAL AS- SOCIATION OP SCHOOLS OP MUSIC, AND DIRECTOR, SCHOOL OP PII~E ARTS, ITNIVERSITY OP KANSAS Dr. GORTON. It is a pleasure to be here. Mr. THOMPSON. You may proceed also as you wish, Doctor. By that I mean that those of you who have prepared statements who would prefer to summarize them, please feel at liberty to do so. The full statements will be printed in the record anyway. Dr. GORTON. My statement is fairly concise so that I believe I will proceed, with your pleasure. It is my privilege to serve as spokesman, in support of the two bills under consideration, for 255 leading schools of music and departments of music of colleges and universities located in 41 States, where ap- proximately 25,000 young musicians are currently enrolled in degree courses leading to professional careers in the various areas of music. In addition, these colleges and universities annually enroll many more thousands of students, majoring in other fields, in courses designed to bring them into contact with the great masterworks of music and thus create a discriminating and supporting audience for the performer. As Americans we are all proud of the development of a significant musical culture in the United States. Our great symphony orches- tras are unsurpassed by those of any other nation. Gifted native musical performers such as Isaac Stern, Blanche Thebom, William Warfield, and Van Cliburn have received international acclaim. Our composers such as Howard Hanson, Aaron Copeland, and Samuel Bar- PAGENO="0039" AID TO FINE ARTS 31 ber have created works of eternal beauty and significance. The music education program in the U.S. public schools and in our colleges and universities, has no parallel anywhere in the world. Yet it is with a sense of shame that we must admit that the economy of music in the United States is in a parlous state. In spite of the tremendous orchestral growth in this country in the past 60 years, only five of the major orchestras have seasons long enough to supply more than a marginal income for the orchestral musician. There is only one permanent opera company with anything like a full season, and most of our singers are forced to go abroad for performance opportu- nities in opera. There are few concert engagements for those counterparts of Van Cliburn who have not made a hit in an Iron Curtain country. While many of our American conductors are occupying minor posts, our pro- fessional orchestras, with a few exceptions like Washington's splendid National Symphony, are largely under the batons of foreign-born conductors. Our composers do not generally receive remuneration sufficient for a livelihood, but must engage in their creative work in the hours after the day's bread and meat have been won through other jobs. The music disseminated by our mass communications media is often a travesty on the art. Mr. Newton N. Minow, the new Chair- man of the Federal Communications Commission, has recently de- scribed much of television as "a vast wasteland" and has called for an upgrading of many of the tawdry programs which daily enter the American home under the guise of entertainment. These are problems of more than local concern. They need to be attacked on a national scale if the full musical resources of this coun- try are to be developed. We need desperately the kind of central guidance and large-scale planning which can come from the establish- ment of a Federal council. The United States is the only major country which has not given governmental support and encouragement to the performing and vis- ual arts. The influence of the Arts Councils of Great Britain and Canada on the artistic life of those countries is a magnificent example of what can be accomplished through national support of the arts. We are heartened by certain recent events: the fact that the Presi- dent's Commission on National Goals has cited the importance of supporting the arts and has urged the Congress to concern itself with the problem of broadening the basis of our cultural activities, by the important stress laid on the arts in the last presidential inaugural and its attendant ceremonies, and by the statement of President Ken- nedy as reported in the New York Times: When so many other nations officially recognize and support the performing arts as part of their national cultural heritage, it seems to me unfortunate that the United States has been so slow in coming to a similar recognition. The two excellent bills under consideration by this committee do not abrogate the right of the State, the local community, or the individual to support, to subsidize, or to sponsor the arts. They proceed in the American way. They are designed to provide leadership for the solu- tion of national problems and to propose ways and means whereby private and local governmental initiative may be brought into play for the encouragement and development of new programs and the support of existing programs in the arts. PAGENO="0040" 32 MD TO FI~ ARTS The establishment of a Federal Advisory Council on the Arts would serve notice to the world that the arts, as well as the sciences, are of in- estimable concern to our people. The image of America must not be projected only as a mechanistic facade. The other peoples of the world must see us as we truly are, a nation of deep abiding faith, with souls sensitive to beauty, and proud of the manifestations of our own cultural development. We must not forget that a large part of our misunderstandings with. other nations stems from the mistaken idea that we as a nation are solely devoted to material things. Even our tremendous expenditures for foreign aid have not served wholly to dispel this unfortunate picture, for other nations often view this with the suspicion that somehow there must be "something in it" for us. What we must do is to present another image of America abroad-an image of a country which devotes a substantial portion of its time and financial resources in pursuit of the arts, a country which has an eye and an ear for the things of timeless beauty, as well as engineering know-how. We have expended over $12 million in the last 7 years to send cul- tural presentations abroad. This was a wise investment and has earned large dividends of good will and understanding in many parts of the world. Can we not now call upon the Federal Government to give official recognition to the arts on our own shores ~ We believe that the proposed Advisory Council on the Arts, as con- stituted through the provisions of this bill, will gain increased respect for our cultural maturity on the part of other nations, and that it will be a bold step forward for our indigenous fine arts, particularly if implemented by the program of matching grants to the States. In conclusion, we should like to quote a resolution passed by the National Music Council on January 5, 1961: That whereas it is generally agreed that the creative arts and the humani- ties are a highly important part of the cultural and spiritual atmosphere of a country, and although the Federal Government has recognized this importance in its cultural exchange programs, the contribution of the Federal Government to the creative arts in the United States has developed slowly, and That if the United States is to maintain and improve its world leadership, to increase its prestige in international relations, and most important, to improve the cultural opportunities for our own people, it seems clear that the Federal Government must assume a greater interest in and a greater responsibility for the further development of the creative arts and the humanities Mr. THoMPsoN. Doctor, thank you very much for this splendid statement. I note that you represent and are speaking for 255 leading schools of music and departments of music of colleges and universities. Is it your feeling that almost unanimously these schools and colleges favor this type of legsilation? Dr. GORTON. Yes, sir; it is. We have had many discussions of the idea of a Federal Advisory Council on the Arts in our annual meetings and the sentiment seems to be overwhelmingly in favor of this proposal. Mr. THOMPSON. I assume that you are a member of the National Music Council;are you not? Dr. GORTON. Yes, we are. PAGENO="0041" AID TO FINE ARTS 33 Mr. THOMPSON. That organization represents everyone in the United States who is active in music, does it riot, teachers, colleges, universities, musicians, and so on? Dr. GORTON. Yes, it covers the whole spectrum. Mr. THOMPSON. I thank you very much. I have nothing to a.dd except to acknowledge your long trip here with thanks. Dr. GORTON. I appreciate the opportunity. Mr. THOMPSON. And I wish to state also that there is nothing new in the proposition; nor is there anything political in it. The Eisen- hower administration requested this legislation for several years. Sec- retary Flemming, Assistant Secretary Richardson of the Department of Health, Education, and Welfare, and now Governor then Under Secretary Rockefeller testified in behalf of it. Also~the presentations abroad have been made under a program established by President Eisenhower, the President's emergency fund which was made a perma- nent part of our foreign policy and therefore our national policy by legislation cosponsored by Senator Humphrey and myself several years ago. Thank you. Mr. Martin? Mr. MARTIN. Yes. As a native and resident of Nebraska, a neighboring State to Kansas, I would like to call attention to the fact and perhaps you are familiar with the fact that in the northern Kansas area and southern Nebraska area we have a volunteer symphony orchestra. They are all amateurs. It is composed of 90-some people who drive as much as 175 miles for rehearsals, purely because they love music, and to get together and practice, I believe, about once a month, which is not too often but there are great distances involved. They have put on several concerts over our TV stations in the southern Nebraska and northern Kansas area. They do it simply on their own with their own initia- tive and I think it is one of the finest developments that we have in our area of the Midwest. Dr. GORTON. Yes, I am. We are proud to join hands with the Nebraskans in this fine endeavor. Mr. MARTIN. I have one other thing which I would like to ask you. You mentioned the TV programs. Do you have any specific recom- mendations as to how improvement could be made in that field along cultural lines? Dr. GORTON. Well, it would seem to me that there are certain gov- ernmental pressures that might be exerted to increase the ratio some- what of cultural events on television to those which operate on a much lower level. They have been described very well and I do not need to define it. Mr. MARTIN. Do you mean pressures of this council, if it is set up, or from the FCC? Dr. GORTON. I think recommendations from this council to the FCC. I think there has to be some kind of an advisory group which will advise the FCC of its responsibilities perhaps, in this matter. The new Chairman of the FCC has imlicated that he has watched television and does not like particularly everything which he sees. There are certain pressures in the way of advice which could be trans- mitted through the FCC by such a Federal advisory council on the arts to create a better climate in the networks for cultural programs.. PAGENO="0042" 34 AID TO Ffl~E ARTS Mr. MARTIN. Do you have any educational TV stations in Kansas? Dr. GORTON. No, sir. We are trying to get some State funds set up for this. We have a pilot project which is underway now, a study of an educational `TV network which is to be operative soon. Mr. MARTIN. I think that has great possibilities along this line, an educational network that would carry this type of program. That is all, Mr. Chairman. Mr. THOMPSON. The broadcasters in meeting here last week suffered almost as much at Government hands as the Government did a w~ek or so earlier at the hands of the Daughters of the American Revolution. I think it was former Governor Collins who started out shocking the big network people and they had hardly recovered from that when Newton Minow took the stage and gave them a comeuppance which was long overdue. I do not think that anything is contemplated or possible in this legis- lation to do more than advise; nor should it be. We cannot legislate taste and, if shoot-them-up programs sell cookies or soap or whatever they sell, then I do not suppose that the sponsors are going to change and put a symphony orchestra on. We might finally get to a point, however, where there are some live musicians on radio and on television and a few less records used over and over again at the expense, really, of the musician; but certainly this legislation does contemplate a thorough review of the Government's role in the arts and it will be expected to make rec6mmendations to the appropriate agencies having to do with the arts. In that sense I think it can be very valuable, but in no sense will it be a censorship group or a group the purpose of which is to require any action on the part of any citizen. We thank you very much, Doctor. Dr. GORTON. Thank you, Mr. Chairman. Mr. THOMPSON. Our next witness is Dr. Clifford Buttelman, of the Music Educators National Conference. Is Dr. Buttelman here? STATEMENT OF DR. CLIFFORD BUTTELMAN, MUSIC EDUCATORS NATIONAL CONFERENCE Mr. THOMPSON. You may proceed as you wish, sir. Dr. BUTrELMAN. I have something here which you might want to consider. I am fortunate to be representing the Music Educators Na- tional Conference of which I am executive secretary emeritus. The organization is the department of music of the National Edu- cation Association. As an entity, it has been organized for 55 years. As a department of music it approaches 73 years. We have approxi- mately 37,000 members, almost all teachers of music in the schools and colleges or directors of departments, and included in that number are some 10,000 undergraduate students of music education who join as student members and become active members as soon as they grad- uate and take jobs. There is a fairly large public adjacent to these people because there are several million pupils in the schools who are ieceiving music at- tention from these teachers, and I would not be surprised but what we could get almost unanimous approval from our teachers and the parents of these children for the kind of action that is projected by these two bifis. PAGENO="0043" AID TO FINE ARTS 35 It seems to me that everything I could say on behalf of our organ- ization is being said by other witnesses. However~, I might speak of two among the several reasons that I am very much interested per- sonally and I know I represent the will and the wishes of our mem- bership in general. Of course, it is a fundamental reason that should be stated because almost since I can remember reading about the Music Educators National Conference before I became associated with it in 1930 our members through their meetings, through their resolu- tions adopted at conventions and in various ways have been advocat- ing Federal, let us say, recognition and support of the arts, of course including music. There used to be a line in the constitution of the organization tak- ing that stand that we should advocate the development of at least some interest and recognition on the part of the Federal Government of the arts. That was not something that originated in the minds of these people here. Many of them were at that time musical prod- ucts, to a greater or lesser degree, of European musicians and music schools. In any event, the endorsement and support of the arts with such programs as are provided in these bills will really be a shot in the arm to thousands of voting citizens who are in a position in their own communities 1~o help develop, among other facets of the strengthen- ing growth of our culture, some of the do-it-yourself agencies in the various areas of the arts. The second point that I will pick out is that Federal endorsement and support of the arts in the manner prescribed by these bills will do much to enhance our stature and our status around the world, espe- cially among those countries which give recognition to the cultural aspects of the lives of their citizens. Now I will speak of Russia. I see the topic can be introduced here safely. I hold no brief for Russia, but I am very much impressed by What we learn of the things they are doing in education in general and in the arts in particular, and particularly in the specialty of music, of course. I am going to draw only a few comments from the report of our executive secretary, Vanett Lawler, who I am sure was invited to come here and asked me to substitute because she had another en- gagement that she had to fill in another city. Miss Lawler was one of the mission on the arts to the Soviet Union last year. This was an official State Department-sponsored mission and it involved Miss Lawler, Mayo Brice, and Ralph Beelke, representing the U.S. Office of Education and the Art Department of the National Education As- sociation, respectively. I knew something about what they would find over there and one of the reasons is a letter from which I think I will take the time just to read a brief paragraph. This letter came from one of our members, a Russian who had been in this country for 47 years and was pretty well Americanized in that length of time. He went back to Russia for a visit with his family. We realize how far education has reached the masses of the Russian people. I can cite as an example my own large family. In pre-Revolutionary Russia there was not one that I knew of- that is of his family- that had a high school education. While I was in the Soviet Union last summer my family included professors of mathematics, physics teachers. Nieces and PAGENO="0044" 36 AID TO Pfl~ ARTS nephews who represent the younger generation are almost all students or col- lege graduates. In my travels in the U.S.S.R. I had the opportunity to meet people of different educational levels from professors and engineers to chauffeurs and peasants. Speaking the language fluently, I had the advantage of talking with them directly. I came out with the impression that they looked with horror at the past, that they are not content with the present, and they are striving for something better in the future. He goes on and tells about his visit with his brothers and says again that he had not seen them for 47 years. He winds up: I have been very much impressed with the persistence and the accomplish- ments of the Russian people. He is not talking about anyone but the people that he met. Now, the things that seem to be impressive to some of us about what the Russian people are having at their disposal now at no expense, we should mention, include a rather large amateur movement which specifies that it is, as I remember, supported by what we would call the unions. These are the houses of culture for the employees. Then there are the pioneer houses or clubs for students between the age of 10 and 14 years. We have nothing like either of those in this country because what we do have that would compare in a way in handling and achievements are entirely otherwise sponsored. I thought that you folks here, any of you who are interested, would like to avoid having to listen to me any longer but would allow me to pass to you the copies of Miss Lawler's own personal report. The official report will, of course, come out later. I do not know how soon that would be but this is in a way only official because it is objective and it tells the facts. The report, of course, will be sponsored by the Department of State. It does not tell here when it will be out. I had read this report some time ago and then read it again yester- day, and I think it is good reading for us to endure and think about because in certain ways they are beating us to it. I do not mean like the sputnik thing. This is something that will not explode all of a sudden. One of the big steps toward putting ourselves in this picture where we belong for our own people regardless of any competition will be securing not only the passage of these two bills but also informing thoroughly all citizens who are interested in the arts in their com- munities and in their children. I include at this point the text of my prepared remarks: Chairman Thompson and members of the Select Subcommittee on Education of the Committee on Education and Labor, ladies and gentlemen, my name is Clifford V. Buttelman and I represent the Music Educators National Conference, a department of the National Education Association of the United States. Our organization is numerically the largest and probably the most highly organized of the NEA departments. The MENC has 51 organized and well developed fed- erated music educators associations. Although our federated organization in each of the 50 States and the District of Columbia operates through its officers and board of directors as an autonomous unit in most respects, our nearly 40,000 members are united in membership and in basic common purposes stemming from the objective to advance music education through the schools and higher educational institutions of the United States as a common cause in the develop- ment of the cultural aspects of the lives of our citizens. The number of boys and girls and older people who are coming under this influence represent literally millions of families. PAGENO="0045" AID TO FINE ARTS 37 I am here to speak for our executive secretary who could not be present because of another engagement away from Washington. As executive secretary emeritus of the organization I am authorized, and I hope qualified, to report for our organization in support of the two bills under discussion in this hearing. Indeed I am particularly grateful for the opportunity to be here in view of the fact that I had the privilege of attending a similar hearing a year or so ago. There is no question about the interest and vital concern of the people who comprise our membership. Of the several reasons why I am glad to speak in support of H.R. 4172 and H.R. 4174, I shall mention only two, largely because the time available en- courages brevity and because other witnesses admirably covered what we would say in a more detailed and complete presentation. First, it is worthy of note that the organization with which I have been associated for so many years has, almost since I can remember, joined with other groups in advocating Federal recognition of and support of the arts, including music. About 1921 our organization participated in the support of a bill to establish a forerunner of the present proposed legislation, introduced by Senator Fletcher. This bill pertained to the establishment of a National Conservatory of Music and for many years, from 1919 on, the Music Educators National Conference maintained a continuing committee activity in the general area of this type of Federal recognition of the cultural arts. Joined with the MENO in these developments were several other organizations, including the National Fed- eration of Music Clubs, the Music Teachers National Association, and others. From time to time various bills were introduced with spreading cooperation from various organizations, including the American Federation of Musicians and others. These efforts continued through succeeding years. The issues were kept alive but nothing happened that attached the word "Federal" to any kind of music and arts project until the establishment of the Works Progress Administration music and arts programs in the early 1930's. A. single quota- tion here from Guy Maier, Assistant to the WPA Federal Music Director: "Hundreds of (its) musicians have already been reabsorbed in gainful, pri- vate employment, their skills intact, and even enhanced, through their activities on the projects. They have been engaged by major symphony orchestras and opera companies, by school districts, bands, theaters, and by recreational cen- ters * * * Extraordinary impetus has been given to the American composer through the activities of the Federal music project. Since Octuber 1935 more than 5,000 compositions written by 1,500 American composers have had public performances, bringing to light a creative opulence undreamed of 2 years ago. No one contends that all these compositions have lasting merit; but if even one or two masterpieces are discovered, the cause of American music will have been splendidly advanced."1 One more reference to emphasize the reasons, why the Music Educators Na- tional Conference believes in, supports, and begs for favorable action on H.R 4172 and H.R. 4174; respectively, a bill for the establishment of a Federal Advisory Council on the Arts and the National Cultural Development Act. These two bills essentially belong together. If a poll could be made it seems altogether likely that the support of our citizens would be overwhelming. Indeed, endorsement and support of the arts with such programs as provided in these bills will be a veritable "shot in the arm" to thousands of voting citizens who are in a position in their communities to help develop, among other facets of strengthening the growth of our culture, some of the "do it yourself" agencies in the various areas of the arts. The second point is stated simply-and most of us who are familiar with the international situation know it is a pertinent issue: Federal endorsement and support of the arts in the manner prescribed by these bills will do much to enhance the stature and status of the United States around the world-especially among those countries which have given recognition to the cultural aspects of the lives of their own citizens. And now I speak of Russia. It would not be necessary to hold hearings, make speeches, or argue the appropriations In connection with a similar subject In the Soviet Union. In fact what we are arguing for here is already recognized I From "Federal Music Project's Contribution to American Music," an address by Guy Maler, Assistant to the Federal Music Director, at the 1938 convention of the Music Educators National Conference, `St. Louis, Mo., MENC 1938 Yearbook, p. 90. PAGENO="0046" 38 AID TO FINE ARTS in Soviet Russia. We were terribly alarmed when Russia beat us to important space developments-to the point that many of our people re4~ommended abandon- ing cultural aspects of our educational program. It is time for us to take stock. We are in a prime position to be outdistanced- and soon-in the realm of the cultural development of the people of our country, which we have proudly believed to be a world leader in providing for our citizens the means for making a living and making life worth living. Now, back to the Soviet Union. Contrary to the popular impression in the United States of America, there is no evidence that there is overconcentration on science and similar areas of education at the expense of the arts and cultural development of the Russian people. In an interview with a member of th recent U.S.A. Mission on the Arts to Soviet Republics, Mrs. E. Furtseva, Minister of Culture, who is a member of the Central Committee of the Soviet Union, the question was raised as to whether, in these days of somewhat spectacular de- velopments in the field of science, the educational authorities of the Soviet Union are deemphasizing education in the arts in order to carry on an accelerated program of science and mathematics education. Assurance was immediately forthcoming that under no circumstances is the program of education in the arts being neglected, deemphasized, or curtailed in favor of an accelerated program in any other part of the curriculum. If there is acceleration it would seem that it is in the direction of more and more time being devoted to educational pursuits in all fields. The foregoing statement is taken from a report based on the official visit to the Union of Soviet Socialist Republics prepared for the Music Educators Journal, the official magazine of the Music Educators National Conference, by Miss Vanett Lawler, executive secretary of MENC, who was a member of the mission. The mission officially represented the U.S. Department of Health, Education, and Welfare, and went to the Soviet Union as a functioning part of the 1959 cultural agreement between the Ministry of Foreign Affairs of the Soviet Union and Department of State of the United States. The two other delegates were Mayo Bryce, specialist in fine arts, U.S. Office of Education; Ralph Beelke, executive secretary, National Art Education Association of the NEA. (The complete, official report of the mission will be published by the U.S. Department of Health, Education, and Welfare. The mission visited the U.S.S.R. for slightly over 4 weeks during the latter part of September and most of October 1960.) In the light of the discussion at this time, it would seem that Miss Lawler's report is of more than passing interest. Permission is asked, therefore, to make available copies of this pamphlet in which Miss Lawler's report is reprinted in full. It merits careful reading. Although the title of Miss Lawler's report deals with "The Arts in the Educational Program in the Soviet Union," there is much more involved than pertains directly or exclusively to the Soviet schools or curriculums per Se. Perusal of this lucid and objective analysis of current facts is illuminating indeed. However, our appeal for public support is not predicated on the premise of beating Russia, but rather on a basis of the genuine need for creating a proper Federal climate for one of the greatest opportunities before us, which is the cultivation of the cultural interests and life satisfactions of the citizens of the United States in a truly American way. MOBILIZING PUBLIC SUPPORT FOR THE ARTS An experiment worthy of reviving at this time was initiated by the Music Educators National Conference in 1932 and 1933. When the great~ depression was threatening all aspects of American economy, schools, and communities, en- tire States and regions were coping with problems which made it seem appro- priate to many citizens to eliminate all expense except the needed requirements of food, clothing, and shelter. Leading organizations throughout the United States rallied .to the call of a committee organized by the Music Educators National Conference. It now seems appropriate to tell something of that story here. Particular attention is directed to the statement following under the heading "A Cultural Arts Platform for the United States of America." It should be noted that 85 organizations subscribed to and supported this platform. PAGENO="0047" AID TO FINE ARTS 39 The following report and draft of the cultural arts platform are excerpted from a report in the 1934 Yearbook of the Music Educators National Conference.2 "On July 4, 1933, a meeting, called by the Music Educators National Con- ference Committee on Contacts and Relations, was held in Chicago, in connection with the National Education Association Convention, to stimulate and foster the fine arts, including music. This cam~1aign was made possible through a gen- erous contribution by the American Society of Composers, Authors, and Pub- lishers. A total of approximately 500 organizations and individuals were con- tacted. A hearty response was received from leaders in all parts of the country. "At the July 4, 1933, meeting, official delegates from 57 national organizations were present, representing a total membership of over 5 million American citi- zens. At this meeting there was adopted and endorsed by these official delegates a statement in regard to the status of the fine arts, and particularly music. "Organizations represented at the July 4 meeting issued to their members copies of the platform in three ways: (a) By distributing the copies provided by the Music Educators National Conference; (b) by duplicating (mimeographed or otherwise) copies of the statement for their members; (c) by printing the platform in their official journals. While the number of copies distributed can- not be definitely stated, we have actual figures for the distribution of over 3 million and can estimate the distribution as not less than twice that number. "Individuals and organizations present at the July 4, 1933, meeting were re- quested to see that copies of the platform were given to their local newspapers. This was done, although no actual attempt was made to keep clippings. Three newspapers alone, the Kansas City Star, the Louisville Courier Journal, and the New York Times would account for a distribution of approximately 1 million, and many other newspapers swelled this to a very much larger total. A con- servative estimate, therefore, of the distribution of this platform would amount to not less than 10 million copies. "The influence of the platform was even wider, however, in that in a great many cases extracts from the platform and reviews of it served as the basis for editorials both in magazines and in newspapers throughout the country. "The importance attached to the project can be seen by the fact that clubs of varied itnerests, races, and creeds have been anxious to consider the activity as an integral part of their own work, in addition to their willingness to promote it as a part of their cooperation with the committee. "It is not intended that work on this project shall cease. Inquiries are being received constantly. for additional copies of the platform and the committee is also receiving copies of various publications in which the platform is appearing. It is urged that all members of the conferem?ce in locations where the news- papers have not already quoted the platform in whoie or in part shall bring this matter to the attention of editors so that the campaign for the recognition of music shall continue."-OsBoURNE MCCONATHY, Chairman. A CULTURAL ARTS PLATFORM FOR THE UNITED STATES OF AMERICA "* * * There is urgent need for a declaration of faith that the arts are not optional luxuries for the few, but are essential for the complete living of the many. "Music and the allied arts give cheer and comfort and richness to life. They bring beauty to our materialistic civilization. Beauty contributes to. the morale and stability of a nation. Social unrest gains its readiest recruits among men who have not found beauty and joy in their work and in their environment. "Our fathers faced a simpler world than ours, with relatively simpler needs. Modern inventions are shortening the working week and greatly increasing the hours of leisure. But in making this advance we have also incurred some penal- ties. Science and the machine have added so much to living that we may have rated them above human values. Life tends to be overmechanized. Education today must concern itself with physical and mental health and with emotional, social, and spiritual responses as well as with reasoning powers. "The responsibility of the present generation for the education of those that are to follow should not be shifted to the future. Youth must be served while it is youth. If we fail in our duty to the boys and girls of today, it cannot be made up to them in after years when prosperity returns and public funds are more 2Report of the MENC Committee on Contracts and Relations, Osbourne McConathy, chairman. 1934 Yearbook of the Music Educators National Conference, p. 309. PAGENO="0048" 40 tm TO ~ ARTS easily available. We have no right to unload upon the youth of today the burden of our adversity. "We, therefore, declare our faith in the arts. Curtailments in educational budgets must not be permitted to affect vitally the cultural subjects, especially music. Avocations as well as vocations must be provided for the sake of the present times and for the days of larger leisure which lie ahead." PARTICIPATING ORGANIZATIONS The following organizations expressed sympathetic interest in the formulation and dissemination of the foregoing platform by: (1) Appointing official and accredited delegates to attend the meeting; or (2) sending unofficial observers; or (3) offering cooperation in the follow-up; or (4) notifying a member to be present at the meeting. American Association of University Women.8 American Association of University Professors. American Choral and Festival Alliance.3 American Council on Education. American Farm Bureau Federation. American Federation of Teachers.3 American Home Economies Association. American Legion.3 American Society of Comixsers, Authors, and Publishers.3 American Vocational Association1 Inc.3 Arizona Education Association.3 Association for Childhood Education.3 California-Western School Music Conference.3 Chicago Artists Association.3 Chicago Council of Teachers of Singing. Chicago High School Music Teachers Club.3 Colorado Education Association.3 Council of Past Presidents, MENC.3 Eastern Music Educators Conference.3 Eastman Foundation.3 Girl Scouts. In-and-About Chicago Music Educators Club.3 In-and-About Pittsburgh Music Teachers Club. International Society for Crippled Children, Inc. Iowa State Teachers Association. Jewish Peoples Institute.3 Jewish Welfare Board.3 Joint Commission on the Emergency in Education.3 Lions International.3 Los Angeles, Calif., High School Teachers Association.3 Maine Teachers' Association. Massachusetts Federation of Teachers. Massachusetts League of Women Voters. Michigan Education Association.3 Milwaukee State Teachers College. Minnesota Congress of Parents and Teachers, Inc.3 Minnesota Education Association.3 Mississippi Congress of Parents and Teachers.3 Montana Education Association.3 Music Education Research Council, MENC.3 Music Education Exhibitors Association.3 Music Industries Chamber of Commerce.3 Music Publishers Association of the United States.3 Music Educators National Conference.3 Music Teachers NatiOnal Association.3 3 OrganIzations which appointed official and accredited delegates to attend the meeting. PAGENO="0049" AID TO FINE ARTS 41 Musical Merchandise Association of the United States.8 National Association of Colored Women.3 National Association of Musical Merchandise Manufacturers.3 National Association of Music Merchants.3 National Association of Piano Tuners.3 National Board of the YWCA's of the United States of America.3 National Bureau for the Advancement of Music.3 National Child Labor Committee. National Congress of Parents and Teachers.3 National Council of Women of the United States, Inc.8 National Council of the YMCA.3 National Education Association.3 National Exchange Clubs. National Federation of Business and Professional Women's Clubs. National Federation of Music Clubs.3 National Kindergarten Association. National Recreational Association.3 National School Band Association.3 National School Orchestra Association.3 New Jersey State Teachers Association. New York State Teachers Association. North Carolina Education Association. North Central Music Educators Conference.3 Northwest Music Educators Conference.3 Oklahoma Education Association. Ontario Educational Association. Pennsylvania State Education Association.3 Pennsylvania Congress of Parents and Teachers. Phi Mu-Alph Sinfonia Fraternity.3 Piano Manufacturers National Association of America.3 Rockford Teachers Club.3 Salvation Army.3 Southern Conference for Music Education.3 Southwestern Music Educators Conference.3 The Folk Lore Foundation. Vermont State Music Committee. Vermont State Teachers Association. Veterans of Foreign Wars of the United States.3 Western Arts Association. Wisconsin Teachers Association. Mr. THOMPSON. Thank you very much and thank you for bringing Miss Lawler's report. I will ask unanimous consent that Miss Lawler's report be included as part of the record and also that these communications in support of the legislation be made part of the record: A telegram from the Texas Art Educators Association; a. telegram from Lydia Joel, the editor of Dance magazine; a letter from William Bealmer, president of the `Western Arts Association; a letter from Mimi Benzell Gould, of New York; and a letter from the New York Opera Festival. (The documents referred to follow:) ~ Organizations which appointed official and accredited delegates to attend the meeting. .70259 O-61----4 PAGENO="0050" PAGENO="0051" The Arts in the Educational Program In the Soviet Union VANETT LAWLER MUSIC EDUCATORS NATIONAL CONFERENCE A Department of the National Education Association 1201 Sixteenth Str.eet, N. W., Washington, D. C. ~43 PAGENO="0052" 44 AID TO FINE ARTS The Arts in the Educational Program In the Soviet Union VANETT LAWLER AMIssloN dedicated to the arts in education ~)rogran1 of another country is a fortunate assignment. Two broad fields are involved-the arts and the pro- gram of education-and, therefore, a 1)eriod for study and visitation should be 1)rovided adequate to encompass the two fields, and, in the case of the Soviet Union, corn- metisurate with the vastness of the country. The Union of Soviet Socialist Republics covers an enormous amount of territory-oiie-sixth of the surface of the world- larger in territory than the combined geographical areas of the United States, Canada and the United Kingdom. There are fifteen Repul)lics, the largest and most popu- PAGENO="0053" AID TO FINE ARTS 45 bus of which is the Republic of Russia. In the Soviet Union more than sixty different languages are spoken. The niission on the arts in education officially repre- sented the United States Departnient of Health, Educa- tion and Welfare and went to the Soviet Union as a functioning part of the 1959 Cultural Agreement between the Ministry of Foreign Affairs of the Soviet Union and the Department of State of the United States. There were three members of the delegation: Mayo Bryce, Specialist in Fine Arts, United States Office of Educa- tion; Ralph Beelke, Executive Secretary, National Art Education Association; Vanett Lawler, Executive Sec- retary, Music Educators National Conference. The delegation was assigned the following fields in education on which to develop a report within a period of one month: music, painting, sculpture, dance, theater. While the assignment was primarily directed at the formal program of education in the arts in the schools, the report (by no means intended, as comprehensive for the entire Soviet Union!) must necessarily embrace the entire education program which, in the Soviet Union, is also carried on outside of the formal educational pro- gram in the schools: The latter is particularly true as far as the arts are concerned, and, within the field of the arts as well as in the formal education program, the major emphasis in this connection is on music education. IT IS OBVIOUS that a study or survey, in any field i~ so vast a cOuntry over a four-week period could actually touch only a very small portion of the total land or popu- lation. However, as the days and the weeks of the month- long period went by, it was also obvious to the members of the delegation that probably no mission sponsored under the Cultural Agreement had a more. pleasant or rewarding assignment than the one devoted to the arts in education. From the day of arrival in Moscow until the day of departure, also from Moscow, as well as in the intervening weeks, there were serious discussions on a high professional plane regarding the arts in education, or education in the arts. To point up this statement, it PAGENO="0054" 46 AID TO FINE ARTS seemed significant that on the final morning in Moscow, when the group was being taken to the airport by the head of the Education Department in the Ministry of Culture and the liaison officer with the United States (Mrs. Butrova, also from the Ministry of Culture), that Mrs. hyena, Head of the Education Department, said: "We have done our best to show you everything you asked to see. Now, what we need to know is your opinion of what we are trying to do in our arts in education pro- gram. This is why we would like to have you here longer. In lieu of this, however, we- would like to suggest a recip- rocal delegation to your country, if possible during the spring of 1961." - As in many countries of the world, and as contrasted with the United States, the system of educatjon in the Union of Soviet Socialist Republics is highly, centralized. While each of the fifteen Republics in the Soviet UniQn has a Ministry of Education and a Ministry of Culture, there is a standardized curriculum for general education, as well as for the arts in education program. Therefore, perhaps, some of .the facts, statistics, and observations in the report will serve as a 1)asis for understanding the total program of education in the arts ~throughout this very large country in the Eastern world and among the diversified ethnic groups in the Union of Soviet Socialist. Republics. EDUCATION in all its aspects is of paramount interest in the Soviet Union. A word about recent developments in education might be helpful at this point. Up to 1940 only the four-year program of education was compul- sory. In the period between 1940 and 1950 the. seven-year ~rogram became mandatory. About four years ago there began the program of eight years of compulsory educa- tion. From the standpoint of the arts, it was learned that in general schools there is offered one forty-five minute period each per week for music and art. In addition, how- ever, there are special lectures to which the students are obligated to go and questions pertaining to these lectures are given in the regular examinations. Another interest- PAGENO="0055" AID TO FINE ARTS 47 ing fact which came out of a conversation with the di- rector of a general secondary school (eleven-year school) is that approximately 35% of the 1,000 students in the school attend morning or afternoon classes in the special music schools about which information will 1)e given later in. this reDort. It is not the opinion of the arts delegation that one particular phase of education is emphasized more than another in the Soviet Union. There is no current de- emphasis on the arts in education, and there is consider- able emphasis on music education. This emphasis on music education is being accelerated. Within the last three to four years the number of primary music schools has been increased by 500. Specialized Schools in Arts in Education AT THIS POINT it is probably well to define some aspects of the arts in education program in the Soviet Union. There are several types of schools dealing with the arts. As stated previously, it should be remembered that, in the general school, the arts-music and painting and drawing-are offered one forty-five minute period each week. This is obviously an inadequate amount of time; the ~chool authorities are aware of this inadequacy and are of a mind to work toward increasing the number of periods of instruction in the arts in the general school program. However, as will he reported on later, and again particularly in the field of music education, the general school program is supplemented to a very considerable extent by the music programs-and to some extent pro- grams of the other arts, particularly the dance-in the Pioneer Houses, to which school children between the ages of 10 to 14 years belong, as well as in Houses of Culture where employees of industries and their children participate in strongly-oriented arts programs. This is generally referred to as the amateur movement. Referring to the various types of special schools (music, fine arts and other schools), there are the follow- ing categories: (1) music schools; (2) fine arts schools; PAGENO="0056" 48 A~ TO FINE ARTS (3) ballet schools; (4) the circus school; (5) arts in education programs in Pioneer Houses as well as in Houses of Culture. In addition, there are evening schools for adults. Due to the shortened working day (recently reduced to seven hours for employees in business institutions and indus- try) and the gradual improvement in the material con- ditions of the working people, there is more time and interest to pursue music education. The government is en- couraging participation in these amateur movements, and, as reported to us, this is being done to provide intellectual advancement for the people as well as to insure intelligent and informed *audiences. An aside here would be a comment about the attendance at concerts, ballet, theater, the circus. If there were vacant seats for any of these presentations anywhere in the cities visited, it would be hard to believe. On the other hand, standees were always in substantial numbers. The same comment can be made concerning visitors to gal- leries and museums. On occasion, so great were the numbers of visitors, that waiting lines-and patient ones -were frequent. RECENTLY there has been a new trend in evening courses in music which are being offered. Employees in industry and factories may apply to the Conservatory in their area or Republic for the purpose of enrolling in classes. This is called correspondence education. There are twenty-one Conservatories in twelve of the Re- publics, and most of the Conservatories offer these correspondence courses. A part of the correspondence courses includes sixty days of direct work with the teachers, during which time the students are given official leave from their work with transportation coSts paid by the government to the city in which the Conservatory is locate(l. Qualification for ParticiPation ~fl the Conserva- tory correspondence courses is through the special tech- nical schools of music. At the present time there are 1800 Pri1l~arY music schools and one hundred priniary art schools in the Union PAGENO="0057" AID TO FINE ARTS 49 of Soviet Socialist Republics. These are seven-year schools located throughout the Soviet Union in metro- politan areas and in rural areas. The schools are also established on some collective farms. There are 160 professional schools in music and forty- three in art which accept students who have graduated from the seven-year music schools and the seven-year general schools.. The professional schools of music offer a four-year course, and, in many of them, are included the general education courses. In any event, completion of a four-year general education course is a requirement for completion of the four-year course in a technical schoo' in music. Nineteen eleven-year schools of music prepare for the Conservatories. In these schools there is not only a sys- teniatic curriculum in music but also education in the other disciplines. The Conservatory course is set up for a five-year period and in addition there is a post-gradliate course of three years. Therefore, for the truly serious and gifted musician, there is involved a total of nineteen years of arduous preparation if he is accepted year after year through the final examinations of the post-graduate work at the Conservatory. Additional information will be given later in this report concerning some of the principal Con- servatories visited in the Soviet Union. The questions might very well be raised as to where teachers are trained; where performers are trained. Some `general answers can be given to these questions. Teach- ers at the Conservatories are trained in the Conserva- tories. Teachers for the I)rimary music schools and the general~ schools receive their training at the four-year technical music schools-although in one primary music school a teacher of violin is a graduate of the Conserva- tory and is a member of the Moscow State Symphony Orchestra. The matter of qualifying to teach at the vari- ous levels of music schools is very important. The teach- ers in the technical music schools (four-year) have fre- quently come from the technical music schools, the Insti- tutes, or have also studied at the Conservatories. PAGENO="0058" 50 AID TO FINE ARTS Then, too, there are General Pedagogical Institutes which have training courses for music and art teachers for the general schools as well as for the general class- room teachers who also teach music in many of the gen- eral schools through the fourth year. Members of the orchestras and choruses and conductors of orchestras and choruses receive their education at the Conservatories- or, in Moscow, for instance, not only at the Conservatory but perhaps at the Gnessin Institute (Music School) which has a very highly developed professional curricu- lum. The Moscow Conservatory and Gnessin Institute prepare for teâching as well as for performance. The factor of qualifications is extremely important, and ac- ceptance for enrollment and continuation of enrollment are based on rigorous examinations, both in theory and in performance. Ballet Schools ADDITiONAL information will be given later in the re- port regarding curriculum and activity in the specific music schools and Conservatories. At this point some in- teresting facts are appropriate concerning the other types of schools dedicated to the arts. It is difficult to say whether music or the dance is in the foremost position of prominence in the arts in education program-the two are so closely identified. Certainly the ballet and the music of the ballet are a part of the cultural life blood of the Soviet Union. The Bolshoi Ballet School in Moscow and the Vaganova School of Ballet in Leningrad provide memorable experiences for the visitor fortunate enough to visit these schools, to know their directors and to wit- ness demonstrations of the work in the schools. The train- ing in the ballet schools, in seriousness of purpose, objec- tive, dedication, length of preparation, corresponds to that in the Conservatories. At the ballet schools are pro- visions for the general education courses which the stu- dents receive from the time they enter the schools- some as early as age seven. Students are framed at the 1)allet schools in classical ballet, national dances, and for participation in serious PAGENO="0059" AID TO FINE ARTS 51 musicals involving the dance. Music education is a part of the education in the ballet schools, as well as French, to- gether with rigorous training in other aesthetic subjects. The day at the ballet schools is from 9:00 in the morning until 6:00 in the evening, with homework for the evening schedule. Many of the students, including the children, are a part of many of the performances at the Bolshoi Theater in the Republic of Russia as well as in the theaters in the other Republics. An interesting piece of news in this connection was given to us. The Bolshoi Ballet School receives. 240,000 rubles a year for the appearance of the children in ballet performances. This money is used by the school for certain expenses such as those in connec- tion with luncheons for the students. LIE experiences at the Bolshoi School of Ballet in Moscow, which is 200 years old, were most interesting in that the director, S. Golovkina, has been one of the distinguished ballerinas of the Bolshoi Theater. Golov- kina not only greeted the delegates in her office where the organization of the school was explained, but was our hostess at luncheon, following which she taught some classes in our presence. When we asked her if she missed performing as a ballerina she said she did not know be- cause "during the last month" she was still dancing! At the Vaganova School of Ballet in Leningrad, where UlanQva studied, there was a different type of experience. There a special program was arranged, beginning with the little folks of seven and ending with experienced stu- dents, some of whom had qualified for study at the Vaga- nova School from their home Republics far away in Cen- tral Asia. The Vaganova School of Ballet is 223 years old; en- roilment in the school totals 370, and the faculty num- bers 120. The usual rigid curriculum prevails at the Vaganova School-a nine-year course and a six-year course. The fact that eighty are accepted after highly competitive examinations and thirty finish indicates the high qualificatiohs which are necessary to complete the course. PAGENO="0060" 52 AID TO FINE ARTS Children's Theater Schools ANOTHER interesting educational development in the arts is the Children's Theater School where all plays are written especially for this Theater-with the exception of plays of other countries, which are not revised. Plays are planned for different age groups, young, medium age, and older children. All parts are played by adults. Dramas are performed by children only in the Pioneer Club Theaters covered later in this report. Plays are chosen with the following points as criteria: (1) psy- chology of children, (2) psychology of adults, parents and directors of schools who also attend the Children's Theater. Three years are spent in the theater school or studio, and study begins at age twenty. Among the courses of- fered are history of. Russian and \Vestern theater, Fencing, Dancing, Mastery of Acting. There are about thirty-two Children's Theaters in the Union of Soviet Socialist Republics. Shows in the Children's Theaters are organized for the afternoon, for 6:00 o'clock and 7:30 presentation, according to the ages of the children. Following the performances there is discussion in the schools concerning the presentations. There are about 300 on the staff in the Children's Theater School in Moscow. This personnel includes the entire production staff. Also in this nunther are seventy actors-thirty-five men and thirty-five women An interesting feature of the organization of this movement is the pedagogical section attached to the Theater. There are three teachers. Special showings are given for the directors of the schools; twelve hundred directors of schools came to one performance. Special showings are also given for parents. The purpose of the latter special showings is for the information of the parents, also to give the management an opportunity to secure the opinion of the parents aI)Out the produc~ tions. It was mentioned that sometimes there are different 1)oints of view between teachers, parents and manage- ment. Five new plays are added to the repertory each PAGENO="0061" AID TO FINE ARTS 53 year. At the present time there are about twenty-five plays in the repertory. The Circus School B EFORE going to the Soviet Union we had heard about the Circus School (or School of the Circus Art), hut to us at that time it seemed no more a serious educational undertaking than it has since our return to many people to whom the Circus School educational project has been mentioned. However, the experience, first at the perform- ance of the circus, followed by a day at the school itself, has thrown an entirely new light on this project as an educational activity. At the present time a new building is being completed in Moscow as the headquarters for the Circus School. Incidentally, the Circus has returned re- cently from a tour to Latin America, and, as we passed through Paris on our return from Moscow, we noticed that the Circus was booked for an engagement in Paris, and, according to our friends in Paris, a much antici- pated event. In the Circus School, as in many of the other schools described in this report, the students, receive, an over- all education. The Circus School is a self-contained establishment, offering general education as well as the speciaIized~ education to the students. The construction of the new Circus School is in the form of a circus ring. The Circus School has two faculties: (1) acrobatic training; (2) clowns, including the famous music clowns. There are two courses: (1) four-year course, in which students between the ages of fourteen years and twenty- one years may enroll; (2) seven-year courses, in which are enrolled students between the ages of eleven and eighteen years. Competitive examinations are required in order to qualify for entrance, and there are always many more candidates than can be accepted. It is interesting to note that, for the course dealing with the training of clowns, only those who have finished the four-year technical music school ate accepted. This means that a total of eleven years of music training pre- cedes entrance to the Circus School clown department. PAGENO="0062" 54 AID TO FINE ARTS The course is scheduled for three years and may be entered upon between the ages of eighteen and twenty- six years. The three-year course consists of two years of theoretical subjects and one year of pr.actical training. The practical training is undertaken outside of Moscow- that is, in other cities, and, upon return to the headquar- ters school, students undergo examinations for the pur- pose of getting their diplomas. Examinations include history of theater and history of circus, plus examination in the~student's own field of specialization. Former circus performers are teachers. Acrobats and gymnasts retire after twenty years of active work re- gardless of age. The Circus School is thirty-two ~years old, has two hundred and fifty students, a general faculty of forty-five and a specialized faculty of thirty. Institute of Art Education A NOTHER important educational establishment in the Soviet Union is the Institute of Art Education begun in 1947 under the general auspices of the Academy of Peda- gogical Sciences. This is mainly a research institute whose principal task has, been dedicated to aesthetics per- taining to children of school age and preschool age. In the Institute are several divisions: (1) music, (2) fine arts, (3) literature, (4) dancing, (5) theater and the cinema, (6) aesthetics in general education. The research program of the Institute is considered an important factor in the training of the teachers. Also identified with the work of the Institute is the Editorial Office, which is concerned with the preparation of textbooks for all of the heretofore mentioned fields. Allied with the work of the Institute, which, as stated above, is concerned with research in all fields of the arts, is the preparation of books on music appreciation and choral singing, as well as with projects of the pedagogical faculties at Conservatories. To further this work of the Institute, testing groups are used by the teachers. To the Institute itself also belongs a chorus (which meets after school), involving changed voices of boys from sixteen to eighteen years old. PAGENO="0063" AID TO FINE ARTS 55 In this Institute are three choreographic groups. Also, the Institute is responsible for the planning of the lectures on the arts (already mentioned) which are made `avail- able to the general schools. An interesting part of the program of the Institute is concerned with the activities of the Pioneer Club Houses. In connection with the basic research of the Institute the choice of students for the research experiments is based on the purpose of the research project. For in- stance, experiments pertaining to choreography draw upon a cross section of students whereas research work pertaining to choral singing draws upon students who have some choral ability. The Institute is also concerned with the present cur- riculuni as well as the emerging curriculum in art and music in the general schools in the Soviet Union. It was at the Institute of Art Education that there was defined for us the number of hours in the school day: grades 1-4-four periods; 5-8-six periods; 9-11-seven periods -45 minutes each. Academy of Fine Arts THE ACADEMY OF FINE ARTS in Moscow occupies an important place in the intellectual and artistic life of the Soviet Union. A session with the officers of the Presidium of the Academy was very helpful in develop- ing an understanding of the organization and motivation of the entire fine arts movement in the Soviet Union. The work of the Academy is devoted to: (1) creative work of the members of the Academy, (2) scientific or theoretical subjects pertaining to the history of the arts, (3) the field of pedagogy in the Institutes as well as the four-year technical art schools. The Academy members work with the Ministry of Culture, the Ministry of Edu- cation, the Ministry of Higher Education, as well as with Institutes where painters and sculptors are trained. The Academy dates back two hundred years. There are 110 members-sixty academicians and Mty associate members. Membership is based on professional attain- nient, maturity and production. There is no correspond- PAGENO="0064" 56 MD TO FINE ARTS ing Academy of Music in the Soviet Union. This, how- ever, does not imply .that there is less activity or quality of activity at the higher levels in the field of music. For the record, however, it should be noted that the training through the program supervised by. the Academy is as rigorous and thorough as in the field of music at the Conservatory. The course involves five years of intensive study, practical and theoretical, and, if examinations warrant, the opportunity for an additional post-graduate course of three years. An interesting facet of the work dealing with the training of the artists is what might he termed field work. The course of study is divided as follows: (1) eight months of studies and lectures, (2) two months of an- nual leave for students and professors~ (3) two months of what is called summer work. In connection with the summer, or field work, the students, in consultation with their professors, choose in advance the l)laces where the students will go. rihe younger studetits are limited to a travel radius of* 1 50 to 200 miles within the vicinity. The more advanced stu- dents travel considerable distances-sbme as far as Pak- istan, Viet .Nam, or Siberia. Up to the present time these ~rojects have been undertaken only within the Socialist countries. In the distant areas the stu(lents (who travei with their profe~ssors) may be loCate(l in a large industrial plant. Following this l)racttcal experience, or at the same time as the practical experience, exhibitions are arranged and lectures are given. In conjunction with the l)ractical work, assistance is given to amateur art education movements in establish- ments in other countries or distant Parts of the Union of Soviet Socialist Republics, such as Pioneer Houses and/or Houses of Culture, whose programs in the arts will be dealt with later in this report. Groups traveling to foreign countries from the Union of Soviet Socialist RepUl)licS on such field missions average ten in number. The foregoing information was obtained from the members of the Presidium of the Academy of Fine Arts, who pointed out the importance of the field work under- PAGENO="0065" AID TO FINE ARTS 57 taken by fine arts students, not only from the standpoint of their profession in the Soviet Union but from the standpoint of the benefits accruing to life in the Soviet Union as the results of the contacts made and later main- tained by the students. It was observed by the members of the delegation dur- ing the course of the extensive interview with the mem- befs of the Presidium that it seemed to be common prac- tice for distinguished musicians to participate actively in the amateur movement in the Soviet Union (Pioneer Clubs and Houses of Culture of industrial organizations), and the question was asked: "To what extent does the same type of participation prevail among the leaders in the field of fine arts ?" The answer was that students of the members of the Academy are the leaders in the amateur movement in the field of fine arts as well as in the special schools-that is, schools attached to industrial plants and factories. The Academy of Fine Arts is re- sponsible for special classes in the fine arts to which employees of industrial establishments and factories' come for instruction. W~HILE it is assumed throughout this report and-it is a fact-that the. music life and activities occupy. a stronger position in the Soviet Union at the present time than do, say, painting and sculpture, yet it would seem that the creative activities of the painters and sculptors and ~designers are probably called upon frequently. To make this point clear: Painters, sculptors, designers, are constantly commissioned to contribute their creative activities to practically every pUl)liC building. It is in- conceivable, for instance, to believe that the subways in Moscow, Leningrad and the recently opened subways in Kiev were planned without the aid of artists. The sub- way stations are marble palaces themselves. Construction people alone c~uld not have done this artistic job. The choice of marble, the mosaics, the bronze statues-all of which beautify the "underground," or subways, in the Soviet Union-indeed had close supervision of artists. There are paintings and scull)ture in public buildings -~-even in the hotels? all state~owned and operated- 70259 O-61--5 PAGENO="0066" 58 AID TO FI~ ARTS which clearly indicate that artists are used. And much of this creative outlet depicts constantly the fact that the Russian artists, while being interested in innovation, are definitely committed to realism in art, which the masses of people understand and enjoy. This concept seemed ever-present as contacts were made in the fine arts field. To be sure, the same zeal for realism is domi- nant in the field of music, but somehow-perhaps he- cause of the great difference between the time and space arts-it does not seem to be as obvious. This could also be because in music there is so much current exposure to the classical and romantic periods, including the classical ballet. However, there is recalled an evening in Kiev where we attended a full-fledged classical ballet production-with music and libretto l)y contemporary Ukraine artists. Black Gold (coal) was the name of the ballet, whose theme was l)ased entirely on portrayal of current coal production, the transportation to the mines of young workers and so forth-all of this amid the usual skillful and bewilderingly beautiful classical 1)allet. It would be remiss to neglect mention of the educa- tional activities in the great Hermitage Gallery in Len- ingrad. At this world-famous gallery are opportunities for art appreciation for students l)eginning the fifth year of general schools. Approximately seventy-five guides who are qualified as teachers are responsible for this work. Not only are lectures arranged at the Hermitage but lectures are also arranged l)y the specialists from the Hermitage at Pioneer Clubs and Houses of Cul- ture. The lectures at the Hermitage are usually ai~- ranged to correlate with academic studies in the general schools. The Deputy Director of the Hermitage, Mr. Livinson-Lessing, told us that attempts are ma(le, for instance, to hold lectures in Egyptian art at the Her- mitage at the time students are studying Egyptian his- tory in the general schools. It was pointed out that efforts of the education department of the Hermitage are directed to `the development of knowledge of art rather than the development of skill. PAGENO="0067" AID TO FINE ARTS 59 The Theater THEATER LIFE in the Soviet Union is important, and, as in the case of concerts, ballet, opera, the drama theater is well supported both l)y the Ministry of Cul- ture and by the public. It was with some reluctance that* the delegation accepted the suggestion to attend a theater in Moscow one evening, due to the tremendous language barrier. "Dead Souls" by Gogol was the play. We received only a very brief synopsis of the play from the interpreter-and then found ourselves thoroughly enjoying the production, laughing with the rest of the audience to the point where our neighbors thought we were Russians and began to talk to us (in Russian) al)out the play! Nothing was spared to project the pro- duction, whose characterizations were effective enough to surmount the formidable language obstacle. A director of an important theater in New York mentioned to us later the possibility of actually importing the produc- tion to New York. Another experience in the theater was in Leningrad when we attended Arthur Miller's "Death of a Sales- man," which had been playing in Leningrad for several ruonths, and, on the evening we were there, had a large and enthusiastic audience. Theater repertory, by the way, is so arranged in the Soviet Union that plays do not run for long periods. The rel)ertOry is constantly changed and, of course, repeated at intervals. THE PUPPET THEATER is a unique experience for visitors to the Soviet Union. Not only did we attend the famous Puppet Theater in Moscow, but an after- noon was spent with the also famous Obraztsov, head of the Puppet Theater, which was established close to thirty years ago. Some 200 people are engaged in the activi- ties of this theater alone. It was interesting to listen to Obraztsov state his philosophy about the Puppet Theater. Rather than paraphrase this philosophy, per- haps it would be good to give some actual quotations- which, of course, are taken out of context but which may give an insight into this artist's concepts. PAGENO="0068" 60 AID TO FINE ARTS 1n response to a question concerning qualifications for participation in the Puppet Theater, Obraztsov said: "The person must be an actor and must have an ironical sense of' humor." . . . . "Man is happy as he works when he. feels his work is necessary. Therefore, we had to find out if we were necessary to the people." "Before we produce a show we must determine fpr whom it is intended and why." . . . . "Art is either harmful or useful. It either improves a man or it does not improve him." . . . . "If art does not call for emo- tion, it is not art. And emotions are not neutral." There is a marked difference between what is shown to adults and to children by the Puppet Theater. Chil- dren do not attend the evening performance regardless of the nature of the performance. Some of Obraztsov's comments about children were interesting: "Children view PUPpets as living things. There is greater tragedy for children in Red Riding Hood presentation than in that of Othello for adults." "Grownups do not understand what brittle hearts children have. Adults too often perceive children through the adult heart, which is wrong." . . . . "In our shows for children we do not eat or beat anyone." "Children are interested in a struggle but there must be someone or something they love involved in that struggle." Obraztsov then went on to say that, before the 19th century, puppetry existed only in China and India. It was introduced to Russia in 1918, A REVIEW OF THE ARTS IN EDUCATION program 01 the Soviet Union does not convey anything like an accurate report unless it portrays the great emphasis placed on th~ arts in education, or education in the arts, in the two highly organized amateur move- ments-narnely, the Houses of Culture for employees of factories, industrial establishnients and collective farms, and the Pioneer Houses or Clubs for students between the ages of ten and fourteen years. Here, again, in connection with the various aspects of the PAGENO="0069" AID TO FINE ARTS 61 report dealing with education-the formal education and the educational facilities made available through Pioneer Clubs and Houses of Culture-it seems almost too o1)viOuS to warrant mention that all are available for everyone without cost. To be sure, there may be instances of private instruction involving fees, but it seems that such instances are rare indeed. Houses of Culture Three typical Houses of Culture were visited: (1) the Likhatchov Plant House of Culture in Moscow, (2) Petrograd Workers House of Culture in Lenin- grad, (3) the October House of Culture in Kiev. To describe these establishments as connnunity centers will communicate something of an idea of their organiza- tion and program. However, this is by no means an adequate frame of reference, because these organiza- tions and their programs penetrate into as well as eman- ate directly from the entire nature of the society in which they exist. Comment should be made about the large and very interesti~ig displays in the Houses of Culture. These displays, indicating progress in the seven-year industrial plan in the Soviet Union, are sometimes done by pro- fessional artists, especially commissioned, and some- times done by students. In other words, since the Houses of Culture are attached to one or more indus- trial plants, factories or collective farms, and since the current seven-year plan in the Soviet Union has set certain goals of accomplishment for the various indus- tries and farms, it is logical to have posted in the Houses of Culture graphic presentations (usually very attractive) which depict progress-or special progress- in the various fields of endeavor in which the workers are engaged. There seems to be something for everybody in these establishments-and it also seems as if everybody is "in something." In the first place, the buildings are very large, with full-scale auditoriums, educational and recreational facilities and equipment. (For instance, it PAGENO="0070" 62 AID TO FINE ARTS was at the Houses of Culture in Leningrad and Kiev that the American Ballet performed.) In the House of Culture visited in Moscow there is a theater seating over 1,000, a dancing hail accommodating 1500. The adequate reading hail and library contains 150,000 books, and in addition there are twenty-two supple- nientary libraries in the factories, making the total of books for this one House of Culture something close to half a million. There is also a small auditorium accommodating 400 and a lecture hail seating 200. Participation in the activities of the House of Cul- ture is not necessarily confined to employees of any specific industrial group or groups, although if space is limited-for instance, at theater presentations-the employees of the particular industrial establishment with which the House of Culture is identified are given preference for seats. I N THE Moscow House of Culture there are 170 dif- ferent activity groups and about 5,000 participants. (It shouki be noted here that by no means do all the em- ployees in industrial plants necessarily participate regu- larly in the activities of the Houses of Culture.) There are four orchestras, two jazz orchestras, one orchestra of folk instruments, two choruses-one classical (100 persons), and another which sings folk and national songs. There is a lively theater movement, ~also a ballet, a circus. Opportunities are provided for the study of painting and sculpture. The leaders or teachers of the 170 groups are for the most part professionals in their fields. For instance, a member of the Moscow Con- servatory staff has been a leader of one of the orchestras in this House of Culture in Moscow for twenty-eight. years. The Children's Department was of special interest and is especially comprehensive, with considerable em- phasis on music education, theater, ballet. On the oc- casion of our visit to the House of Culture in Moscow a rehearsal of Tom Sawyer was in progress. The opportunities offered through the educational pro- grams in the Houses of Culture not only provide aesthetic PAGENO="0071" AID TO FINE ARTS 63 education for large groups of people, but not infrequently some special talents are discovered, encouraged, de- veloped-sometimes to high professional artistic levels. All maintenance expenses are borne by the sponsoring. industrial establishment. The cost of instrui~ents, cos- tumes, salaries for professionals, is assumed by the trade union responsible for the general administration of the project. Faculties at the House of Culture in Moscow are in the following categories: (1) music, (2) literature, (3) fine arts, (4) cinematography, (5) science. THE PETROGRAD Workers' House of Culture is one of five such large centers in Leningrad. In the vicinity there are 195 smaller centers. Here some of the dis- tinguished artists were at work in their respective fields. For instance, G. N. Kaganov, the producer at Children's Theater in Leningrad, was at work with an amateur theater circle group. A well-known ballet dancer, Kozlov, works regularly in the Petrograd Workers' House of Culture. The Acrobatic Circle is headed by a producer of the circus in Leningrad. A fine a cappella choir was heard in rehearsal. under the direction of F. Kozlov, dis- tinguished choral conductor. A group of teen-age boys gave demonstrations of classical ballet and national dances. Lessons were observed in progress on individual instruments, including folk instruments. The library con- tains 150,000 books and is used by some 5,000 persons. plus 6,000 additional persons who take advantage of the library resources in the centers of employment. Approxi- mately sixty-five smaller traveling libraries move from one factory or working establishment to another. It was observed that this library in Leningrad has a good sup- ply of non-technical books on the arts which we were told are in popular demand. A particularly interesting experience for us was to ob- serve the large crowd (about 500 people) filling the auditorium in the House of Culture at nine o'clock on the evening of our visit to listen to a distinguished mu- sicologist lecture on the subject of "Music Romanticism in the Nineteenth Century." Incidentally, Mr. Weinkopf, PAGENO="0072" 64 AiD TO PINE ARTS the speaker, told us prior to the lecture that when illus- trations of his lectures seem in order, only live music is used-in other words, not records or tape recordings but singers and instrumentalists are actually a part of the lecture-demonstration. The October House of Culture in Kiev, located on one of the highest points in the city, was opened in 1957 and is supported by small industry unions. There are 1 ,000 participants in the amateur movement. On the evening of our visit a rehearsal was in progress. The part of the rehearsal we saw, national dances of the Ukraine, was superbly executed. In this establishment there are or- ganized courses for national dances, classical ballet; there is a girls' ensemble of folk .~dance and song, a symphony orchestra, orchestras of folk instruments, a cappella chorus, chorus for national songs and folk songs, courses in painting and sculpture, Children's Department, Theater Department. The Houses of Culture described briefly in the f ore- going paragraphs would seem to be the focal point for the adult amateur movement in the arts. That opportuni- ties offered in these establishments, are acceptable and, in fact, eagerly participated in, there seems to be no doubt. The plan seems to be to encourage to the fullest extent the growth and development of these centers, and within them no effort seems to be spared in giving every opportunity for maximum participation in the arts, not only for adults but for children as well. Pioneer Clubs T WILL BE RECALLED that earlier in this report it was mentioned that the Arts in Education program in the general schools is well supplemented by educational pro- grams in Houses of Culture and in the Pioneer Houses or Clubs throughout the Soviet Union. The Pioneer movement, an important part of the so- ciety of the Soviet Union, is an organization plan for students who are from ten to fourteen years of age. It would seem that most of the students belong to Pioneer groups which are organized the length and breadth of PAGENO="0073" N AID TO FINE ARTS 65 the country. A day was spent at the Pioneer Palace in Leningrad, and a Palace indeed it is-and was-before the Revolution and now. There are twenty other Pioneer Centers in special buildings, in Leningrad. On the day of our visit' to the Leningrad Pioneer Palace there was a special program celebrating the Fortieth Anniversary of the founding of the Pioneer movement. `The general purpose of this movement is to provide focal points of organization for young people within the ten-to-fourteen year brackets; through these focal points countless activities are sponsored, including some espe- cially organized Arts in Education programs-particu- larly in the field of music education, dance, theat~r. Thus there is beginning some concerted direction in the field of the fine arts. At the Central Pioneer Palace in Leningrad about 1,000 students participate each day; there is a total par- ticipation of over 11,000 students. Group activities and instruction include orchestras, folk instrument orches- tras, a bayan (accordion) orchestra, choruses, chore- ography, theater, photography, painting, literature. Not infrequently, by any means, are exceptional talents of students disclosed. One post-graduate artist piano stu- dent heard at the Rimsky-Korsakov Conservatory* in Leningrad, was a war orphan discovered in a Pioneer Club. A magnificent soprano, in her last year at the Conservatory in Kiev, owed her first education in music to the Pioneer Club movement. Field work to other parts of a Republic or to another Republic is a part of the program of the movement; in turn, groups of students from other parts of the Soviet Union come to Pioneer Club Centers in large cities. Competition seems to be a strong feature of the Pioneer Clubs. On the day we were at the Pioneer Palace in Leningrad, students from 511 schools were at the Cen- ter, not only to celebrate the Fortieth Anniversary of the movement, but to inaugurate an inter-school competition dealing with scholastic subjects, sports and exhibitions. Later on, awards based on the decisions of the students themselves were to be made. PAGENO="0074" 66 AID TO FINE ARTS One interesting experience at the Pioneer Palace in Leningrad must be recorded. During the rehearsal of a student orchestra, a member of the orchestra came to the members of the delegation and asked in good English if boys and girls in the United States like to play in amateur orchestras, also asked what music they played, and finally said, "Do they maybe play the music of some of our composers too ?" Moscow State University FOUNDED in 1755, and established on its new site with 32 floors and 25,000 students in 1953, Moscow State University is one of the most important educational centers in the Soviet Union. Some faculties are still maintained on the former campus. Moscow State Uni- versity does not have faculties in arts education, nor does it prepare students for careers in medicine or dentistry, the latter two being provided by special Institutes, as is true of the fine arts. There is a course in art included in the Department of History at the University. At the University there are faculties in mathematics, engineer- ing, chemistry, economics, history, law, philosophy, languages. Part of the campus life are. dramatic theater, ballet, choruses, symphony orchestras, jazz orchestras. This is made possible through courses offered on an extra-cur- ricular basis at the University, or through instruction received by students in the special schools for arts. The Conservatories and Special Music Schools UP TO THIS POINT this report has not gone into details about what might be called the serious music education program in the Soviet Union-that is, the education of the profes.sional musician, the musicologists, the com- posers, as well as the teachers for the special preparatory music schools. What is said about the "serious" music education pr'ogram, however, should in no way imply that the arts-particularly music-in the amateur move- PAGENO="0075" AID TO FINE ARTS 67 ment, in the primary music sch9ols and in the general schools, are not considered seriously.. On the contrary, the amateur movement is highly regarded as a part of the artistic life and ideals of the Soviet Union. It is, however, only when extended visits are made to Con- servatory Preparatory Schools, when conversations are held with directors of such schools-and with the di- rectors and staffs of Conservatories in Moscow, and Kiev, and the Rimsky-Korsakov Conservatory in Lenin- grad-that one is fully impressed with the great serious- ness attached to music education as a profession in the Soviet Union. In the first place, the special Conservatory Preparatory Schools, such as the Central Music School (an eleven- year school) in Moscow which prepares students for the Moscow Conservatory as well as for other Conserva- tories, give a solid education in music, and at the same time and in the same school, the general education courses are offered. In this school from the first year (age seven) there is serious music education, including solfeggio, mu- sic dictation, rhythmics, instruction on instruments. Participation in the orchestra is compulsory at this pre- paratorv school. The basic instrument is the piano. In this institution there is art instruction during the first four years, with courses in history and appreciation of art and, of course, as the students progress, intensive instruction in such subjects as harmony and history of music-both Russian music and music of the Western world. The teachers at this school, for the most part, are trained at the Moscow Conservatory. Enrollment in the school is based on competitive examinations, and the right to continue as a student in the school is based on the most rigorous examinations. Within the plan of organization* in tne school are com- petitive events. One afternoon a Chopin audition was attended. Students as young as eight years participated in the contest-the purpose of which was to deterniine which students would have the privilege of appearing in a concert, soon to be held. Professors were the adjudi- cators. It was not only an illuminating experience to PAGENO="0076" 68 AID TO FINE ARTS witness this event from the standpoint of the musical excellence of the students, but it was interesting to ob- serve that for a period of close to three hours some very young students-around eight years old-listened at- tentively to each presentation. FROM the eleven-year school, again through examina- tions, the students enter the four-year Technical School, also attached to the Conservatory in Moscow. At this school there is training for performance, to be sure, but also training of teachers for the primary music schools. However, the objective of the outstanding students is to enter the Conservatory, if possible following the coni- pletion of the eleven-year special secondary music school. Mcscow Conservatory is ninety-four years old. In the five-year Conservatory course there are about 800 stu- dents, among them students from other countries. In the three-year post-graduate schools 100 students are en- rolled. The faculties of the Conservatory are: (1) piano and organ, (2) orchestra, (3) vocal, including solo and opera, (4) theoretical (composition, musicology, choral conducting, opera and symphony conducting). There is no correspondence school education offered by Moscow Conservatory; however, 300 students are en- rolled in evening courses. There are two symphony orchestras and one chorus in the Conservatory. The Director of the Conservatory, an outstanding choral con- ductor, A. V. Sveshnikov, and the Assistant Director, M. N. Anastasiev, gave the delegation every opportunity to become familiar with the organization of the Conserva- tory which is indeed an important part of the cultura.l life of Moscow and the country. Through the facilities at the Conservatory 400 concerts were given in Moscow and other cities during 1959. Some of Russia's leading composers and artists are actively working at the Conservatory in Moscow- Shostakovich, Khachaturian, Kabalevsky, Gillels. An interesting conversation was held with Negaus, teacher of Gillels and Richter. Conversations were also held with Khachaturian and Kabalevsky, both of whom expressed warm interest in the opportunities they have to compose PAGENO="0077" AID TO FINE ARTS 69 music for amateur groups. They stressed the fact that composers are challenged when writing music for school or non-professional groups, and agreed that it is a difficult task which required not only simplicity but originality. Both Khachaturian and Kabalevsky devote considerable time to the amateur music movement in the Soviet Union. THE OLDEST CONSERVATORY in the Soviet Union is the Rimsky-Korsakov Conservatory in Leningrad, . founded in 1862. Attached to this Conservatory is an eleven-year preparatory school begun in 1936. This is a well organ- ized school, where intensive training both in music edu- cation and in general education is given the students. An orchestra of eighty is a part of the plan of the preparatory school. Some of Russia's most distinguished musicians have studied, and graduated at this fine Conservatory, including Rubinstein, Tchaikovsky, Glazunov, Sho- stakovich. There are daytime classes as well as evening classes, and correspondence education is also offered. The Con- servatory has two* symphony orchestras, as well as a special orchestra for the training of orchestra conductors and an opera studio orchestra. The total enrollment is about 1,000. About 100 may graduate and of this nurn- ber ten may qualify for post-graduate work. One has the impression that the Rimsky-Korsakov Conservatory in Leningrad is a well organized institu- tion with the highest of musical standards. The warm reception received from the Director, Yuri Brjushkov, a distinguished pianist, and from other members of the faculty, was especially appreciated. At the Moscow and Rimsky-Korsakov Conservatories some interesting conversations were held with the com- posers and musicologists relative to the desirability of experimentation in art-music, painting, sculpture, ballet. It would seem that the general belief, among artists in the Soviet Union is that, while it is interesting to support innovation, experimentation merely for the sake of ex- perimentation is not desirable. Art for art's sake is not enough, it was gleaned from such conversations,' but PAGENO="0078" 70 AID TO FINE ARTS rather art must be so conceived that its structure and form, whether it be music, painting, sculpture, classical or modern dance, can be understood by and can reach the masses of people. It was not detected that there exists to an appreciable extent what might be termed an intellectual dvant-garde group interested primarily in, say, pure experimentation in composition, abstractionism in fine arts, expressionism in the dance. It was, however, the conviction of the creative artists that it was their duty to us~ their creative talents so that there can result from their creations an understanding of all music and the other arts by all peo- ples-an understanding directly related to the lives of people and compatible with their ideas and ideals, which should be lofty; and, above all, an understanding love for the beautiful. Kiev THE UKRAINE REPUBLIC (population 40,000,000) whose principal city, Kiev, was visited, has a most active music life, as well as considerable activity in the other arts. The Glière four-year Technical Music School is one of the oldest in the Ukraine. The divisions of in- struc.tio~ are as follows: piano, strings, conducting and chorus, brass and percussion instruments, folk instru- ments, theory. Here teachers are trained for the seven-year primary music schools, as well as music teachers for the general schools; here training is received for professional or- chestra and choral work and for work with the amateur music groups. Students are received in this school be- tween the ages of fourteen years and thirty years (the latter, those who want refresher courses). A small board- ing school enrolls students from collective farms and nearby towns. There are the daytime courses (enroll- ment of 386), evening courses and correspondence edu- cation courses (enrollment of 200). Some students enter the Conservatory at Kiev or elsewhere. Last year there were eighty-five graduates and twenty-six entered the Conservatory. PAGENO="0079" AID TO FINE ARTS 71 In Kiev there are eight primary music schools, and in the Ukraine Republic the number of primary music schools totals 267. The Ukraine has four Conservatories, fiVe eleven-year music schools, and~ twenty-four f our- year technical music. schools. The faculty in the Glière four-year Technical Music School numbers 130, nine of whom teach general subjects. All of the graduates are qualified to teach. Methods of teaching and other peda- gogical subjects are included in the training, and asso- ciated with the school is a practice-teaching school. Some interesting emphasis is placed on the training on folk instruments in the Giière four-year Technical Music School, the Lysenko eleven-year Music School, as well as in the Conservatory in Kiev. The instruments on which instruction is given for solo work as well as for large ensembles of folk instruments~ are: (1) bandura, (2) gush, (3) dombra, (4) sopilka. Students major in these instruments, for which serious or classical music has been arranged and for which composers are also creating music. The Lysenko eleven-year Music School in Kiev is the principal preparatory school for the Conservatory in Kiev, which has an enrollment of 460 and a staff of 127. A good orchestra had already been organized for con- cert work at the beginning of the school year. At this school a dombra orchestra performed for the delegates a work by Vivaldi with piano accompaniment. Since the close of the hist war the Conservatory at Kiev has been completely rebuilt as has much of the city. Kiev Conservatory is a well organized institution with a broad program of instruction in standard instruments, in voice, as well as in folk instruments. Composititons by Mendelssohn, Liszt, Tchaikovsky were heard, both solos and large ensembles, played on bandura, balalaika, gush. Also heard was a composition by the Conservatory Di- rector. P. Shtogovenko, played by a fine orchestra. Status of. Fine Arts in the Soviet Union I NSTRUCTION. IN THE FINE ARTS in the Soviet Union parallels that of music except that, as has already been PAGENO="0080" 72 AID TO FI~ -ARTS said, there are many more music schools at all levels than there are fine arts schools. There are special primary art schools, the four-year technical art schools, schools which prepare exclusively for the higher Institutes or Acad- emies of Art. The Institutes or Academies, like the Con- servatories, have five-year courses and, for the students who qualify, three-year ~iost-graduate courses. During the course of the liñiited stay of one month in the Soviet Union it was obviously impossible. to evalu- ate the various programs of the arts in~ educafion-in special schools, general schools, in Conservatories, In- stitutes of Fine Arts, Theater Schools, Ballet Schools, Circus School and so forth. This was also true of the programs of the arts in the amateur movements such as the Pioneer Houses and the Houses of Culture, to say nothing of the professional productions such as the sym- phony orchestra concerts, the ballet, theater, the galleries and museums. It was, indeed, fortunate that there were mad.e available to the delegation so many opportunities for contacts with the various programs. It can be said with conviction, however, that, based on the month of experiences and observation, there is indeed a well- supported cultural program in the Soviet Union. Every- t~ng we saw and heard gave evidence that the arts in education-in the presentation of the arts to the public and as a part of the highly organized amateur movements -have significant official support. 0 N THE DAY PRIOR TO DEPARTURE from the Union of Soviet `Socialist Republics the delegation was accom- panied by Mrs. L. hyena, the Head of Education in the Ministry of Culture, and Mrs. A. Butrova, the liaison officer in charge of relations with the United States in the Ministry of Culture, for an interview with Mrs. E. Furtseva, the Minister of Culture, who is one of the members of the Central Committee of the Soviet Union. In discussing with the Minister the extent of the cul- tural program in the Soviet Union, the question was raised as to whether, in these days of somewhat spec- tacular developments in the field of science, the educa- PAGENO="0081" AID TO FINE ARTS 73 tional authorities of the Soviet Union are dc-emphasizing education in the arts in order to carry on an accelerated program of science and mathematics education. Assur- ance was immediately forthcoming that under no cir- cumstances is the program of education in the arts being neglected, de-emphasized or curtailed in favor of an accelerated program in any other part of the curriculum. If there is acceleration it would seem that it is in the directiOn of more and more time being devoted to educa- tional r~ursuits in all fields. * Indeed, all of the experiences during the month-long period indicated that the arts are increasingly regarded as part of the daily lives of all of the people. It was reassuring and of more than passing significance to have the specific answer from the Minister of Culture under whose jurisdiction the entire arts program in the Union of Soviet Socialist Republics is operated. For, the in- formed reader will recall, the jurisdiction embraces not alone the formal education in Conservatories, Special Schools of Music, Institutes of Fine Arts, the Ballet Schools, the Circus School, Theater Schools, but also the enormous professional productions such as the Ballet, the Symphony Orchestras, Opera, Theater. It is apparent that in the Soviet Union, as in many other countries, there is official patronage of the !arts, and, as a consequence, great national respect for the arts. In the Soviet Union the emphasis on political and eco- nomic growth is of great importance, to be sure, but emphasis on cultural growth and activities and, support of cultural activities is of equal importance. A career in the arts is regarded as of the same importance as a career in politics, economics, science or other profes- sions. Therefore, the most careful attention is given to the education of artists in all fields. Official support of the arts does not end with the education of the artists. Support of the arts as an intrinsic part of the life in' the Soviet Union provides widespread opportunities for education in the arts for Soviet youth as well as the' adult population. 7~259 0-61-C PAGENO="0082" 74 AID TO FINE ARTS It seems that the arts and artists in the Soviet Union are accepted as much as any other facet of the life, as official representatives of the society of the country. Conclusion THE PURPOSE of the mission was not to evaluate or to interpret the artistic life in the Soviet Union in any of its aspects because such an undertaking would have dis- tressingly artificial implications if attempted in such a short period. TherefOre, the delegation was painstaking in making note of all information provided by the hosts. It is on the basis of some of these notes that the informa- tiOn in this report has been made available. It is the opinion of members of the delegation that it would indeed be a worthwhile project to make ~a com- parative study of the arts in education programs in the United States and the Soviet Union. Because of the em- phasis on music education in all fields in both countries such a project would be especially challenging. Members of the delegation feel that it was indeed a privilege to take part in this mission, and look forward hopefully to a continuation of the cultural exchange pro- gram between the Soviet Union and the United States. The benefits to be derived from such exchange are many and are important-from a strictly professional angle, as well as from the standpoint of the effectiveness of ex- changes in the field of the arts-particularly the arts in education-as fundamental factors in the development and maintenance of international understanding and good will. PAGENO="0083" AID TO FINE ARTS 75 LUBBOCK, TEX., April 27, 1961. Congressman FRANK THOMPSON JR., House of Representatives, Washington, D.C.: The Texas Art Educators Association is in strong support of your efforts for H.R. 4172 on the Advisory Council on the Arts. Biu~ LOCKHART, President, Tea,as Art Educators Association. NEW YORK, N.Y., May 12, 1961. FRANK THOMPSON, JR., House of Representatives, Washington, D.C.: Unfortunately impossible for me to be present, but most sincerely express the enthusiasm of Dance magazine and of the dance field for House bills 4172 and 4174. As objective and leading representatives of a field which has already proven its' growing creative force on the national and international cultural scene, we wholeheartedly promise our support, and, in the event of the antici- pated passage of the bill will do everything within our power to help realize their aims successfully. LYDIA JOEL, Editor and Chief, Dance Magasi'ne. WESTERN ARTS AssoCIATION, May 10, 1961. Hon. FRANK THOMPSON, house of Representatives, Washington, D.C. DEAR REPRESENTATIVE THOMPSON: At a recent meeting of the Western Arts Association, a report was given on the progress of the Federal bill H.R. 4172, the Federal Advisory Council on the Arts. Since our group represents the art educators in 18 Midwestern States and is affiliated with the National Art Education Association, we are quite anxious to see the passage of this bill. Thus, the Western Arts Association unanimously voted to express their support to you. [f, as president of this association, there is any way in which I can be of service, please do not hesitate to write me. Sincerely, WILLIAM BEALMER, President. NEW YORK, April 5, 1961. Congressman FRANK THOMPSON, Jr., House Office Building, Washington, D.C. DEAR CONGRESSMAN THOMPSON: I wish to congratulate you on your past sup- port of various bills that have been introduced by Congress and your wish to further the cause of the performing arts in this country. As a performing artist who is actively engaged in bringing music and other forms of culture to the people throughout the country and the world, I know I speak for many when I say that we are hopeful that your bill, H.R. 4172, to establish a Federal Advisory Council on the Arts, as well as the National Cultural Development Act, H.R. 4174, will garner the support that it so richly deserves. I hope that your efforts on behalf of arts and culture in this country will be undeterred, and be assured that there are many people such as myself who have recognized your unselfish support and who are interested in helping in whatever way possible. Most sincerely, MIMI BENZELL. NEW YORK OPERA FESTIVAL, New York, N.Y., March 14, 1961. Congressman FRANK THOMPSON, Jr., House Office Building, Washington, D.C. DEAR CONGRESSMAN THOMPSON: My sincere congratulations and thanks for your past activities in encouraging the performing arts. PAGENO="0084" 76 AID TO FINE ARTS May your bill (H.R. 4172) to establish a Federal Advisory Council on the Arts, as well as the National Cultural Development Act (H.R. 4174) find the needed support for enactment. For the past 25 years I have watched and, naturally, tried to help the devel- opment of an arts program in the United States. It has been a tough and some- times hopeless task and only now has the note been struck which resounds success. I would like to volunteer my services in any way to help. Cordially and sincerely, FELIX W. SALMAGGI. Mr. THOMPSON. Do. you have any questions? Mr. MARTIN. No. Mr. THOMPSON. Thank you very much, Doctor. I also ask unanimous consent that statements in support of the legislation by Harold Weston of New York be included. (The statements referred to follow:) TESTIMONY BY H~oID WESTON RE H.R. 4172, FOR THE NATIONAL COUNCIL ON THE ARTS AND GOVERNMENT My name is Harold Weston. I am chairman of the National Council on the Arts and Government. Much to my regret, prior engagements prevent my appearance before the Select Subcommittee on Education on May 15, 1961. Mr. Dick Moore, a member of the NCAG, has kindly consented to present this testimony. The NCAG is the only national organization in the United States consisting of distinguished representatives of all major art fields and dedicated to forward- ing the arts through sound legislative and administrative procedures. It has become widely recognized for its leadership in the formulation and promotion of legislative measures for the arts. Since its decisions are determined by its mem- bers, many of whom are prominent in national organizations concerned with the arts, it would seem pertinent to identify the present membership and to request that the attached list be made a part of the record of this hearing. Our national council took part in the drafting of this legislation in 1955 and made strenuous efforts during the past 6 years to expedite the creation of a Federal Advisory Council on the Arts. Some 20 prominent witnesses testified for the NOAG in April 1956 at a hearing in New York City in favor of Senator Lehman's 5. 3419, which was unanimously approved by the Senate on July 5 of that year. The Congressional Record of that date printed the names of over 300 cultural and civic leaders throughout the country who endorsed the NOAG appeal to Congress to enact this legislation. In May 1957 about 15 witnesses testified at NCAG request at a Senate committee hearing in New York City and over 400 eminent citizens signed our second appeal to Congress, a copy of which is submitted herewith to the committee. Representatives of the NOAG also testified at House hearings in 1955, 1956, and 1959 for this legislation. It seems redundant to restate the arguments in favor of a Federal Advisory Council on the Arts which has been endorsed by an overwhelming majority of organizations and citizens interested in the arts, by both Presidential candidates last fall, by the Democratic Party, and by its sponsors from both parties in both Houses of Congress. This legislation is generally considered the most impor- tant first step in Federal recognition of the role of the arts in our national welfare and in the development of closer relationship between the Federal Gov- ernment and the arts. May I, however, call the committee's attention to one aspect which has not been stressed? The time has come when the Federal Government urgently needs to encourage the expansion of our cultural resources in cooperation with State and municipal governments and private initiative not only for our own citizens but also to main- tain at the highest possible level our cultural ammunition in the constantly intensifying cold war. Consultative bodies for all of the arts do not exist in the Federal structure to advise either Federal administrators or the Congress in meeting these responsibilities. Establishment of this Advisory Council would provide a system whereby committees of experts for advice about any field or fields of art could be promptly appointed when and as needed. This feature is relevant to the proposed National Cultural Development Act which this com- mittee also has under consideration. PAGENO="0085" AID TO FINE ARTS 77 The NCAG respectfully submits to the Select Subcommittee on Education two suggested amendments to H.R. 4172 and two points which we hope this subcom- mittee may wish to recommend for inclusion in the committee report which will accompany whatever Advisory Council bill may be approved by the Committee on Education and Labor. In the 86th Congress, in order to secure administration supprt and at the sug- gestion of the NOAG, a compromise text was introduced in both Houses by Mem- bers of both parties. This text eliminated certain provisions of the bill (S. 3419) approved by the Senate in 1956. The various bills introduced in the 87th Congress followed: that compromise text with slight variations. S. 3419 speci- fied that all seven major fields of art were to be equally represented on the Advisory Council. Its accompanying Committee Report No. 2409 emphasized the importance of a high degree of technical competence on the part of persons appointed to the Council, and an explanatory sentence about the three members who are not representatives of any one of the arts. The NCAG is well aware that strict apportionment on the Council of representation of art fields and their many subdivisions may not be desirable. The NCAG suggests the fol- lowing amendment, which underscores more adequately than the present vague phrase "appropriate balance" the desirability of wide representation of these fields of art, yet does not restrict the President's choice unduly. Further, it emphasizes professional competence, which is, in our opinion, essential to suc- cessful operation of the Advisory Council. Incidentally, this amendment would militate against appointments motivated by political considerations. In HR. 4172, section 2, page 2, line 22, after "television" it is suggested that the following sentence be substituted for the present sentence before the next sentence: "In view of the importance of including on the Council persons possess- ing a high degree of professional or technical competence in relation to the var- ious art fields, the President is requested in making such appointments to give consideration to such recommendations as may from time to time be submitted to him by leading national organizations in these fields, and not more than three persons, appointed primarily for their general interest in the promotion, preser- vation, or patronage of the arts, shall serve on the Council at any one time." This amendment is included in H~R. 5408 introduced by Congressman John V. Lindsay but as a continuation of the same sentence. The second suggested amendment is of minor importance and is merely a safe- guard in case a conflict of responsibilities is anticipated between the Federal Advisory Council on the Arts and the Advisory Committee on the Arts which already functions in relation to federally sponsored cultural programs overseas. The development of the arts in the United States undeniably has international implications, all the more so in view of the emphasis placed in Soviet propaganda on cultural matters. As stated in Committee Report No. 1660 which accom- panied H.R. 7656 in the 86th Congress: "Not only does art enrich the lives of individual citizens, but our national life and the impact of our country abroad is enhanced by cultural development." The arts do not recognize national fron- tiers and one of the charges constantly repeated by Soviet propaganda is that our Government does almost nothing to support the arts. Naturally, the Advisory Council should not concern itself with projects or programs carried out overseas with assistance from the Government. That can be quite simply clarified by adding in section 7, page 7, line 5, to that sentence the following phrase: "and the Advisory Committee on the Arts." This amendment is included in H.R. 5408. In administering Federal legislation for the arts greatest care must be taken that the freedom of the arts shall be protected from esthetic bias and political censorship or controls. This objective cannot be written into legislation but can be expressed as an intent of Congress in a committee report. To this end, Com- mittee Report No. 2409 which accompanied S. 3419 stated: "It is the intention of this committee that the Advisory Council, in carrying out its functions, shall not, directly or indirectly, infringe or attempt to infringe in any way, shape, or manner upon the freedom of expression in the arts or im- pose or attempt to impose any form of censorship or governmental control or direction of the arts." The NCAG most earnestly hopes that this or a similarly clear statement of intent will be favorably considered for inclusion in the committee report. This was not done in Committee Report No. 1660 which accompanied H.R. 7656 in the 86th Congress. The effectiveness of an advisory body depends in large measure on the leader- ship given by the chairman. He should not only have the requisite abilities but PAGENO="0086" 78 AID TO FINE ARTS also be sufficiently free from other responsibilities to be able to devote the neces- sary amount of time and energy. Also it would be preferable if his interest was not concentrated on only one field of art. There should, of course, be no restric- tions as to the choice of chairman. However, the committee report might ap- propriately suggest that, in making appointments of persons who had a general interest in the arts, qualities of leadership and willingness to spare adequate time to such efforts might be given special consideration. In conclusion, the members of the National Council on the Arts and Govern- ment are thoroughly convinced that the creation of a Federal Advisory Council will greatly stimulate the arts for the benefit of our people and our country. We are confident that the Committee on Education and Labor will expedite the enactment of this long-overdue legislation at this session of Congress. TESTIMONY RE H.R. 4174 FOB THE NATIONAL CouNcII~ ON THE ARTS AND GOVERNMENT The National Council on the Arts and Government considers the proposed National Cultural Development Act to be the most valuable way for the Federal Government to assist in forwarding the arts in the communities of the United States. We are enthusiastic about this legislation because it will stimulate State, municipal, and local action for the arts and therefore help in the long run to develop the arts more than any other method. However, there are areas of our country where there is pressing need for assistance to the arts to make them available to the population in those areas where State and local initiative is now lacking. Consequently, we believe that the establishment of a U.S. Arts Foundation for the performing and visual arts is also and almost equally important. We agree that Federal aid for the arts is best channeled through State art agencies and based on grassroots support. But this method actually may not amount to much in the near future and those areas of our country that most urgently need Federal help to develop their cultural resources may not obtain it. Few States at present have State art agencies of the operative character re- quired to receive grants under this act. It will take several years to establish such agencies in a majority of States. This is an argument in favor of early approval of this act rather than a reason for delay. By the example of even a few States enriching the lives of their citizens through this means, other States will make the necessary effort to obtain similar Federal assistance. Until most States participate, the National Cultural Development Act will not by itself be able to provide the Federal cooperation needed to augment effectively and broadly the cultural vitality of our country. The NCAG wishes to submit a brief amendment for consideration by the sub- committee. This act wisely places upon State art agencies the responsibilities of proposing, supporting (at least to 50 percent), and carrying out any art projects or programs for which Federal aid is received under this act. A mini- mum of Federal control or direction is involved. However, unless the required approval of the Secretary of the Department of Health, Education, and Welfare for such projects or programs is merely perfunctory, some judgment must be exercised by him about matters which may be of a specialized nature relating to any field of art. The Secretary cannot be expected to have special competence in such wide areas. In the opinion of the NCAG, whenever advisory opinions are necessary, they should be obtained from impartially selected professionals and through channels specified by Congress in this legislation. We do not be- lieve the Secretary should be required to request advice in all instances, but the source of whatever professional advice is obtained should not be left to the personal judgment of the Secretary. It is therefore respectfully suggested that in H.R. 4174 in section 4 subsection (b), page 4, line 9, the following sentence be inserted after the words "of sub- section (a) :" "In reaching such decisions, the Secretary shall, whenever he deems it advisable, request the Federal Advisory Council on the Arts to pro- vide advisory opinions from a special committee or committees in the field, or fields of art concerned." The Federal Advisory Council on the Arts is instructed in H.R. 4172 section 3(3), page 4, line 3, to "cooperate with local, State, and Federal departments and agencies to foster artistic and cultural endeavors." The method suggested above will be an effective way to do so. The National Council on the Arts and Government wholeheartedly supports the National Cultural Development Act and urges its early approval. PAGENO="0087" AID TO FINE ARTS 79 Membership May 1961 Richard F. Bach, representative of American Institute of Design Pietro Belluschi, architect, dean, School of Architecture, MIT Mrs. C. Arthur Bullock, president, National Federation of Music Clubs Dr. Oscar J. Campbell, former administrator, arts center program, Columbia University 1 Charles Collingwood, commentator Thomas DeGaetani, president, U.S. Institute for Theatre Technology Norman Dello Joio, composer Rene d'Harnoncourt, director, Museum of Modern Art, New York Lamar Dodd, painter, head, Department of Art, University of Georgia Henry Dreyfuss, industrial designer Quaintance Eaton, executive secretary, National Committee for the Musical Arts Hy Fame, vice chairman, NCAG, national executive secretary, AGMA' Dave Garroway, TV personality Lillian Gish, star of film and stage Lloyd Goodrich, director, `~Vhitney Museum of American Art, author' T. Edward Hambleton, founder and managing director, Phoenix Theatre Howard Hanson, composer, conductor, president, National Music Council Alfred Harding, treasurer, NCAG, former assistant to president, Actors' Equity' Jay S. Harrison, editor, music critic Edwin Hughes, pianist, executive secretary, National Music Council' Theodate Johnson, publisher, Musical America Herman D. Kenin, president, American Federation of Musicians Dan Kiley, landscape architect Billie Kirpich, representative, Dance Teachers Guild Mrs. Serge Koussevitzky, patron of musical arts Leon Kroll, painter, National Institute of Arts and Letters William Lescaze, architect Dorothy Liebes, textile designer Howard Lindsay, honorary chairman, NCAG, playwright, actor, producer'. Gertrude Macy, general manager, Int. Cult. Exch. Svs., ANTA Dick Moore, actor, representing Actors' Equity Association Joseph Allen Patterson,. representing American Association of Museums Andrew Ritchie, director, Yale University Gallery of Art Theodore J. Roszak, sculptor1 Robert C. Schnitzer, general manager, Theatre Guild American Repertory Com- pany' Gilbert Seldes, author, editor, educator Seymour N. Siegel, director, Municipal Broadcasting System, New York Carleton Sprague Smith, musicologist, author ~ Eugene Smith, photographer Grace Spofford, chairman, music committee, National Council of Women of United States Eleanor Steber~ opera, concert artist Edward D. Stone, architect Rex Stout, author, former president, Authors' League of America Dr. Harold Taylor, former president, Sarah Lawrence College, lecturer Mrs. Helen M. Thompson, executive secretary, American Symphony Orchestra League Lucia Victor, playwright, stage manager, representing Actors' Equity Associa- tion Ralph Walker, architect, former president, American Institute of Architects' Mrs. Vanderbilt Webb, president, American Craftsmen's Council Harold Weston, chairman, NCAG, painter, president, U.S. Comm. IAPA1 Elihu Winer, secretary, NCAG, playwright, representing Writers' Guild of America 1 William W. Wurster, architect, dean, Department of Architecture, UCLA Dr. Edwin Ziegfeld, educator, head Department Art, Teachers College, represent- ing NAEA1 William Zorach, sculptor ~ Executive committee. PAGENO="0088" 80 AID TO FINE ARTS [Press release Thursday, June 6, 1957} NEW YORK Crrv, June 6.-Strongly supporting President Eisenhower's state- ment that "The Federal Government should do more to give official recognition to the importance of the arts and other cultural activities," 400 men and women prominent in the arts and public life today signed an appeal to Congress asking that bills establishing a Federal Advisory Council on the Arts in the Department of Health, Education, and Welfare be enacted during the 1957 session. The appeal was made public by the National Council on the Arts and Government, representing all the arts, through its chairman, Clarence Derwent. Among the signers of this appeal are: Nelson W. Aldrich, Rose Bampton, Samuel Barber, Leonard Bernstein, Van Wyck Brooks, Al Capp, Paddy Chayef- sky, Marc Connelly, Mrs. Norman Chandler, Stuart Davis, James T. Farrell, Walter Gropius, Helen Hayes, Celeste Hoim, Clare Boothe Luce, Henry R. Luce, Burt Lancaster, Howard Lindsay, Joshua Logan, Dr. Earl J. McGrath, Stanley Marcus, Raymond Massey, Gilbert Miller, Grandma Moses, Dimitri Mitropoulos, Marianne Craig Moore, Paul Muni, Charles Munch, Reinhold Niebuhr, Bishop G. Bromley Oxman, Vincent Price, Mrs. Ogden Reid, Fritz Reiner, Elmer Rice, Edward G. Robinson, David Smith. Rise Stevens, Gladys Swarthout, Ruth St. Denis, Charles Sheeler, Mark Van Doren, Mies van der Rohe, Cornelius Vanderbilt Whitney, Darryl F. Zanuck, Fred Zinneman, Hon. Frank P. Zeidler. "The primary purpose of a Federal Advisory Council on the Arts" said the appeal to Congress, "is to propose methods to encourage private initiative and its cooperation with local, State, and Federal departments or agencies to foster artistic creation and appreciation and the use of the arts both nationally and internationally in the best interests of our country." It was pointed out that the bills under consideration have bipartisan support in both Houses of Congress, do not request subsidies for the arts and require only modest administrative appropriations. The complete statement and the list of signers follow: ENCOURAGEMENT OF THE NATION'S ARTS-AN APPEAL TO CONGRESS "President Eisenhower in 1955 declared that `the Federal Government should do more to give official recognition to the importance of the arts and other cul- tural activities.' He recommended `the establishment of a Federal advisory commission on the arts in the Department of Health, Education, and Welfare.' Last year a bipartisan bill to carry out this recommendation passed the Senate, but the House failed to take action. "The President's 1957 budget message again requested action by Congress. Senators and Congressmen of both parties have introduced bills for this purpose: S. 1716 by Senator H. Alexander Smith, Republican, of New Jersey, cosponsored by Senators James E. Murray, Democrat of Montana, Irving M. Ives, Republican of New York, Thomas C. Hennings, Jr., Democrat, of Missouri, John Sherman Cooper, Republican of Kentucky, and Jacob K. Javits, Republican of New York; S. 930 by Senator Hubert H. Humphrey, Democrat, of Minnesota, cosponsored by Senators Paul H. Douglas, Democrat, of Illinois, and Jacob K. Javits, Repub- lican, of New York; H.R. 6374 (identical to S. 1716) by Congressman Stuyvesant Wainwright, Republican, of New York; H.R. 6642 (identical to S. 1716) by Congressman Edith Green, Democrat, of Oregon; H.R. 3514 by Congressman Frank Thompson, Jr., Democrat, of New Jersey; and H.R. 1089 by Congressman Emanuel Celler, Democrat, of New York. "The primary purpose of a Federal Advisory Council on the Arts is to propose methods to encourage private initiative and its cooperation with local, State, and Federal departments or agencies to foster artistic creation and appreciation and the use of the arts both nationally and internationally in the best interests of our country. The Council would upon request advise Federal departments and agencies which administer art programs, exclusive of those areas of responsibility of the Commission of Fine Arts. "These bills do not request subsidies for the arts and require only modest appropriations for administrative expenses. "Effective international use of the arts is a permanent policy of our country, but the United States lags behind 38 nations in considering the development and enjoyment of cultural resources a matter of concern to the Government. As work days shorten and life expectancy lengthens the arts will play an ever more important role in the lives of our citizens. "We urge that this legislation be favorably considered and enacted by this session of Congress." PAGENO="0089" AID TO FINE ARTS 81 The appeal to Congress was signed by the following artists and distinguished citizens interested in the arts: MUSIC Maurice Abravamel, Salt Lake City, Utah Rose Bampton, New York, N.Y. Samel Barber, Mount Kisco, N.Y. S. L. M. Barlow, New York, N.Y. Floyd G. Blair, New York, N.Y. Theodore Bloomfield, Portland, Oreg. Percy W. Brown, Cleveland, Ohio John Brownlee, New York, N.Y. Dean Robert Choate, Boston, Mass. Norman Dello Joio, New York, N.Y. Leonard De Paur, New York, N.Y. Willard Fejfar, Vermillion, S. Dak. Arthur Fiedler, Boston, Mass. Rudolph Ganz, Chicago, Ill. Ira Gershwin, Beverly Hills, Calif. Boris Goldovsky, Brookline, Mass. Vladimir Golschmann, St. Louis, Mo. Howard Hanson, Rochester, N.Y. Guy Fraser Harrison, Oklahoma City, Okla. Margaret Hillis, New York, N.Y. Helen M. Hosmer, Potsdam, N.Y. Edwin Hughes, New York, N.Y. Thor Johnson, Cincinnati, Ohio Henry Kaiser, Washington, D.C. Milton Kathns, Seattle, Wash. Mrs. Serge Koussevitzky, Lenox, Mass. Donald Cook, New York, N.Y. Clarence Derwent, New York, N.Y. John Emery, New York, N.Y. Alfred Harding, New York, N.Y. Helen Hayes, Nyack, N.Y. Celeste Holm, New York, N.Y. Glenn Hughes, Seattle, Wash. Judson Laire, Pleasantville, N.Y. Lawrence Langner, New York, N.Y. Howard Lindsay, New York, N.Y. Joshua Logan, New York, N.Y. Clare Booth Luce, New York, N.Y. Ruthanna Boris, New York, N.Y. John Butler, New York, N.Y. Lucia Chase, New York, N.Y. Janet Collins, New York, N.Y. Andre Eglevsky, New York, N.Y. Frank Hobi, New York, N.Y. Conrad Aiken, Brewster, Mass. Van Wyck Brooks, New York, N.Y. Kenneth Burke, New York, N.Y. Henry Seidel Canby, Deep River, Conn. Stuart Chase, Georgetown, Conn. Marc Connelly, New York, N.Y. Malcolm Cowley, New York, N.Y. Rachel Crothers, New York, N.Y. Dr. William S. Dix, Princeton, N.J. James T. Farrell, New York, N.Y. Alfred Kreymborg, New York, N.Y. Roger H. McDonough, Trenton, N.J. Josef Krips, Buffalo, N.Y. Vanett Lawler, Washington, D.C. George London, New York, N.Y. Robert Millonzi, Buffalo, N.Y. Howard Mitchell, Washington, D.C. Dimitri Mitropoulous, New York, N.Y. Douglas Moore, New York, N.Y. Charles Munch, Boston, Mass. Patrice Munsel, New York, N.Y. Eric Oldberg, Chicago, Ill. Lily Pons, New York, N.Y. Muriel Rahn, New York, N.Y. Fritz Reiner, Chicago, Ill. Regina Resnik, New York, N.Y. Hans Schweiger, Kansas City, Mo. Robert L. Shaw, Cleveland, Ohio Boris Sokoloff, Minneapolis, M&nn. Henry Sopkin, Atlanta, Ga. Eleanor Steber, New York, N.Y. Rise Stevens, New York, N.Y. Reginald Stewart, Baltimore, Md. Polyna Stoska, New York, N.Y. William Strickland, New York, N.Y. Gladys Swarthout, New York, N.Y. George Szell, Cleveland, Ohio Blanche Thebom, New York, N.Y. Luben Vichey, New York, N.Y. J. F. Williamson, Princeton, N.J. Kenneth Macgowan, Los Angeles, Calif. Raymond Massey, Georgetown, Conn. Gilbert Miller, New York, N.Y. Paul Muni, New York, N.Y. Frederick O'Neal, New York, N.Y. Edward G. Robinson, New York, N.Y Robert C. Schnitzer, New York, N.Y. Lewis M. Simon, New York, N.Y. Robert L. Snook, Sioux Falls, S. Dak. Lucia Victor, New York, N.Y. Blanche Yurka, New York, N.Y. Tilda Morse, New York, N.Y. Mary Ellen Moylan, New York, N.Y. Ruth St. Denis, New York, N.Y. Bentley Stone, New York, N.Y. Oleg Tupine, New York, N.Y. Marianne Craig Moore, Brooklyn, N.Y. Reinhold Niebuhr, New York, N.Y. W. Creighton Pest, San Francisco, Calif. Elmer Rice, New York, N.Y. Jerome M. Rosenfeld, Boston, Mass. Upton Sinclair, Monrovia, Calif. Rex Stout, Brewster, N.Y. JAonel Trilling, New York, N.Y. Louis Untermeyer, Newton, Conn. Mark Van Doren, New York, N.Y. Stark Young, New York, N.Y. DRAMA DANCE LITERATURE PAGENO="0090" 82 AID TO PINE ARTS ARCHITECTURE AN!) DESIGN Richard F. Bach, New York, N.Y. Pietro Belluschi, Cambridge, Mass. Walter F. Bogner, Cambridge, Mass. William Hoskins Brown, Boston, Mass. Walter E. Church, Portland, Oreg. Clair W. Ditchy, Detroit, Mich. Henry Dreyfuss, Pasadena, Calif. Alfred Geiffert, Jr., New York, N.Y. Philip L. Goodwin, New York, N.Y. Walter Gropius, Cambridge, Mass. William E. Hartmann, Chicago, Ill. Philip Johnson, New Canaan, Conn. Louis L. Kahn, Philadelphia, Pa. Vincent G. Kling, Philadelphia, Pa. J. Haygood Lassetter, Miami, Fla. William Lescaze, New York, N.Y. Dorothy Liebes, New York, N.Y. Lawrence Linnard, Maumee, Ohio Eugene R. Martini, San Francisco, Calif. Benjamin Moscowitz, New York, N.Y. Walter A. Netsch, Jr., Chicago, Ill. Richard J. Neutra, Los Angeles, Calif. Isidor Richmond, Boston, Mass. John Wellborn Root, Chicago, Ill. Eero Saarinen, Bloomfield Hills, Mich. Daniel Schwartzman, New York, N.Y. Sidney N. Shurdilif, Boston, Mass. Alfred Phillips Shaw, Chicago, Ill. Henry R. Shepley, Boston, Mass. Harold Spitznagel, Sioux Falls, S. Dak. Glenn Stanton, Portland, Oreg. Hugh Stubbins, Cambridge, Mass. Walter Dorwin Teague, New York, N.Y. R. D. Tillson, Highpoint, N.C. Mies van der Robe, Chicago, Ill. Ralph Walker, New York, N.Y. Robert Law Weed, Miami, Fla. Harry M. Weese, Chicago, Ill. Samuel G. Wiener, Shreveport, La. Philip Will, Chicago, Ill. Edgar I. Williams, New York, N.Y. William W. Wurster, San Francisco, Calif. PAINTING George Biddle, Croton-on-Hudson, N.Y. Isabel Bishop, New York, N.Y. Louis Bouche, New York, N.Y. Charles Burchfield, West Seneca, N.Y. Stuart Davis, New York, N.Y. Lamar Dodd, Atlanta, Ga. Olin Dows, Rhinebeck, N.Y. Emlen Etting, Philadelphia, Pa. George Grosz, Huntington, Long Island, N.Y. Oscar Howe, Pierre, S. Dak. Jan Juta, New York, N.Y. Karl Knaths, Provincetowll, Mass. Leon Kroll, Gloucester, Mass. Jacob Lawrence, Brooklyn, N.Y. Jose de Creeft, New York, N.Y. Robert Howard, San Francisco, Calif. Robert Laurent, Bloomingdale, Ind. Jacques Lipchitz, Hastings, N.Y. Richard Lippold, New York, N.Y. Oronzio Maldarelli, New York, N.Y. Al Capp, Boston, Mass. Milton Caniff, New City, N.Y. Al Hirscbfield, New York, N.Y. Ansel Adams, San Francisco, Calif. Berenice Abbott, New York, N.Y. Richard Avelon, New York, N.Y. Harry Callahan, Chicago, Ill. Will Connell, Los Angeles, Calif. Andreas Feininger, New York, N.Y. Wayne Miller, Orinda, Calif. Loren Maclver, New York, N.Y. Peppino Mangravite, New York, N.Y. George L. K. Morris, New York, N.Y. Grandma Moses (Anna Mary Robert- son Moses), Eagle Bridge, N.Y. Marjorie Phillips, Washington, D.C. Ruth Reeves, New York, N.Y. Ben Shahn, Roosevelt, N.J. Charles Sheeler, Irvington, N.Y. Franklin C. Watkins, Philadelphia, Pa. Max Weber, Great Neck, Long Island, N.Y. Harold Weston, New York, N.Y. Karl Zerbe, Miami, Fla. Hugo Robus, New York, N.Y. Theodore Roszak, New York, N.Y. David Smith, Lake George, N.Y. Ruth Yates, New York, N.Y. William Zorach, Brooklyn, N.Y. J. J. Lankes, Durham, N.C. Otto Soglow, New York, NY. James Thurber, New York, N.Y. Lisette Model, New York, N.Y. Arnold Newman, New York, N.Y. W. Eugene Smith, Croton-on-Hudson, N.Y. Bert Stern, New York, N.Y. Roman Vishniac, New York, N.Y. Minor White, Rochester, N.Y. 5CULPTURE GRAPHIC ART PHOTOGRAPHY PAGENO="0091" AID TO FINE ARTS MOTION PICTURES 83 Kenneth Clark, Washington, D.C. Frances Goodrich, Los Angeles, Calif. Albert Hackett, Los Angeles, Calif. Don Hartman, Hollywood, Calif. John Houseman, New York, N.Y. Kim Hunter, New York, N.Y. Burt Lancaster, Los Angeles, Calif. Joseph L. Mankiewicz, Rome, Italy. Lloyd Nolan, Los Angeles, Calif. Vincent Price, Beverly Hills, Calif. Darryl Zanuck, Los Angeles, Calif. Fred Zinneman, Hollywood, Calif. RADIO AND TELEVISION Erik Barnouw, Larchmont, N.Y. Herbert Brodkin, New York, N.Y. Evelyn F. Burkey, New York, N.Y. Paddy Chayefsky, New York, N.Y. Samuel Chotzinoff, New York, N.Y. Charles Collingwood, New York, N.Y. David Davidson, New York, N.Y. Clifton Fadiman, New York, N.Y. Dave Garroway, New York, N.Y. Gilbert Seldes, New York, N.Y. Seymour N. Siegel, New York, N.Y. Dr. Harry J. Skornia, Urbana, IlL Dr. Frank Stanton, New York, N.Y. Rod Sterling, Westport, Conn. Jay Nelson Tuck, New York, N.Y. Elihu Winer, New York, N.Y. ART MUSEUMS AND ART SCHOOLS Alfred H. Barr, Jr., New York, N.Y. Adelyn D. Breeskin, Baltimore, Md. Richard F. Brown, Los Angeles, Calif. Jerry Bywaters, Dallas, Tex. Leslie Cheek, Jr., Richmond, Va. Victor D'Amico, New York, N.Y. Rene d'Harnoncourt, New York, N.Y. Joseph T. Fraser, Jr., Philadelphia, Pa. Ray Faulkner, Stanford, Calif. Richard E. Fuller, Seattle, Wash. Lloyd Goodrich, New York, N.Y. Bartlett H. Hayes, Jr., Andover, Mass. Mrs. Ruth Lawrence, Minneapolis, Minn. John F. Lewis, Jr., Philadelphia, Pa. Stewart Kionis, New York, N.Y. William M. i~Iilliken, Cleveland, Ohio Herman More, New York, N.Y. Grace L. McCann Morley, San Fran- cisco, Calif. Charles Nagel, St. Louis, Mo. Alfred Neumeyer, Oakland, Calif. Duncan Phillips, Washington, D.C. James S. Plaut, Boston, Mass. Perry T. Rathbone, Boston, Mass. Daniel Catton Rich, Chicago, Ill. Edgar Schenck, Brooklyn, N.Y. Ala Story, Santa Barbara, Calif. James Johnson Sweeny, New York, N.Y. Fred P. Walkey, Lincoln, Mass. Mrs. Vanderbilt Webb, New York, N.Y. Frederick S. Wight, Los Angeles, Calif. Hermann Warner Williams, Jr., Wash- ington, D.C. Gurdon Woods, San Francisco, Calif. ART CRITICS AND EDITORS Carlyle Burrows, New York, N.Y. Howard Devree, New YOrk, N.Y. Dr. Alfred M. Frankfurter, New York, N.Y. Emily Genauer, New York, N.Y. Dorothy Grafly, Philadelphia, Pa. Henry R. Hope, Bloomington, md. Norman Kent, New York, N.Y. Mrs. Jean Lipman, Cannondale, Conn. Jack H. Lockhart, New York, N.Y. Jonathan Marshall, New York, N.Y. Arthur Millier, Los Angeles, Calif. Mrs. Ogden Reid, New York, N.Y. Whitelaw Reid, New York, N.Y. Aline Saarinen, New York, N.Y. UNIVERSITIES AND EDUCATIONAL ORGANIZATIONS Dr. B. B. Allen, Los Angeles, Calif. Dr. Gordon W. Gilkey, Corvallis, Oreg. Dr. Wallace S. Baldinger, Eugene, Oreg. Dr. Roswell Ham, South Hadley, Mass. Dr. John T. Caldwell, Fayettevffle, Ark. Dr. Gallen Jones, Washington, D.C. Dr. Oscar J. Campbell, New York, N.Y. Dr. Oliver W. Larkin, Northampton, Dr. James S. Coles, Brunswick, Maine Mass. Dr. George Cress, Chattanooga, Tenn. Dr. Daniel M. Mendelowitz, Stanford, Dr. William L. Crosten, Stanford, Calif. Calif. Dr. Lowell M. Durham, Salt Lake City, Dr. John R. Murray, Elmira, N.Y. Utah Dr. Clark B. Millikan, Pasadena, Calif. S. Lain Faison, Jr., Williamstown, Dr. James L. Morrill, Minneapolis, Mass. Minn. Dr. R. Goldsmidt, Berkeley, Calif. Dr.Hobart Nichols, Bronxville, N.Y. Henry Russell Hitchcock, Northamp- Dr. Norman T. Newton, Cambridge, ton, Mass. Mass. PAGENO="0092" AID TO FINE ARTS Mrs. Lloyd Ackerman, San Francisco, Calif. Nelson W. Aldrich, Boston, Mass. Archibald S. Alexander, Bernardsville, N.J. Mrs. Stewart F. Alexander, Park Ridge, N.J. Mrs. Robert G. Amestoy, San Fran- cisco, Calif. Hon. William Benton, Southport, Coun. Richard A. Berenson, Boston, Mass. Sidney Berkowitz, New York, N.Y. Sidney F. Brody, Los Angeles, Calif. Mrs. Sidney F. Brody, Los Angeles, Calif. Mrs. Norman Chandler, Los Angeles, Calif. Mrs. Drew Chidester, San Francisco, Calif. Charles D. Childs, Boston, Mass. Henry P. Clark, San Francisco, Calif. John Ashby Conway, Seattle, Wash. Gardner Cox, Boston, Mass. Mrs. Alfred Crapsey, Piedmont, Calif. Marian Davis, Riveredge, N.J. Norman Davis, Seattle, Wash. Frank De Bellis, San Francisco, Calif. Dewey Donnell, Sonoma, Calif. Mrs. Ronald A. Dougan, Beloit, Wis. Mrs. Charles Ducommum, Los Angeles, Calif. Mrs. Paul Eliel, San Francisco, Calif. William H. Falcey, Trenton, N.J. Charles W. Fay, San Francisco, Calif. Philip S. Fogg, Pasadena, Calif. Mrs. William B. Freer, Burlingame, Calif. Mrs. John V. Galgiani, San Francisco, Calif. Col. Edgar W. Garbisch, New York, N.Y. A. Conger Goodyear, Old Westbury, N.Y. Dr. Dorothy Gray, New York, N.Y. Mrs. Robert E. Gross, Los Angeles, Calif. Edith Halpert, New York, N.Y. Virginia Harris, Boston, Mass. James L. Haseltine, Osmego, Oreg. Mrs. Elizabeth Heffelfinger, Wayzata, Minn. Dr. Frederick L...Hipp, Trenton, N.J. Genevra Hobbs, Boston, Mass. Charles R. Howell, Pennington, N.J. Mrs. Samuel Jaffe, Beverly Hills, Calif. Maxim Karolik, Newport, R.I. Dr. Meyer Kestnbaum, Chicago, Ill. Mrs. J. R. Killian, Cambridge, Mass. Paul Hayden Kird, Seattle, Wash. Mrs. John C. Kittle, Ross, Calif. Mrs. William S. Ladd, Lakeville, Conn. Mrs. Albert D. Lasker, New York, N.Y. Mrs. Robert A. Law, Coos Bay, Oreg. Milton Lowenthal, New York, N.Y. Henry R. Luce, New York, N.Y. Earle Ludgin, Chicago, Ill. Mrs. James K. MacAndrew, San Fran- cisco, Calif. Mrs. G. Macculloch Miller, New York, N.Y. Joseph E. McLean, Trenton, N.J. John R. Mage, Pasadena, Calif. Stanley Marcus, Dallas, Tex. Mrs. Robbins Milbank, Burlingame, Calif. Newbold Morris, New York, N.Y. * Denys P. Myero, Tulsa, Okia. Mrs. Rafael Narvas, New York, N.Y. Roy R. Neuberger, New York, N.Y. Bishop G. Bromley Oxnam, Washing- ton, D.C. Joseph P. Richardson, Boston, Mass. Raymond S. Rubinow, New York, N.Y. Albert B. Ruddock, Santa Barbara, Calif. Mrs. Henry P. Russell, San Francisco, Calif. Leon B. Russell, San Francisco, Calif. Dr. Paul J. Sachs, Cambridge, Mass. James S. Schramm, Burlington, Iowa Mrs. Ferdinand C. Smith, San Fran- cisco, Calif. Eloise Spaeth, New York, N.Y. Otto L. Spaeth, New York, N.Y. Delroy M. Stanley, Minneapolis, Minn. Mark Starr, New York, N.Y. Mrs. Waldo E. Stephens, Oklahoma City, Okla. Mrs. Thomas Stimson, Seattle, Wash. Dr. Charles H. Strub, Arcadia, Calif. Mrs. Jerd Sullivan, San Francisco, Calif. Hudson Walker, New York, N.Y. Edward M. M. Warburg, New York, N.Y. Royal Barry Wills, Boston, Mass. Cornelius Vanderbilt Whitney, Old Westbury, N.Y. Hon. Frank P. Zeidler, Milwaukee, Wis. 84 UNIVERSITIES AND EDUCATIONAL oRGANIzATIoNs-continued Dr. George Nightingale, La Grande, Dr. Lawrence Stavig, Sioux Falls, Oreg. S. Dak. Dr. Norman Philbrick, Stanford, Calif. Dr. Harold Taylor, Bronxville, N.Y. Dr. David S. Schrager, Philadelphia, Dean Allen S. Weller, Urbana, Ill. Pa. Dr. William R. White, Waco, Tex. Dr. Edwin Ziegfeld, New York, N.Y. DISTINGUISHED CITIZENS INTERESTED IN THE ARTS PAGENO="0093" AID TO FINE ARTS 85 Mr. THOMPSON. Our next witness is Mr. Dick Moore of the National Council on the Arts and Government. Mr. Moore, Mr. Weston's statement will be part of the record by the consent which has just been obtained. If you desire to do so, you may summarize. STATEMENT OF DICK MOORE~, EDITOR, EQUITY MAGAZINE, AND MEMBER, NATIONAL COUNCIL ON THE ARTS AND GOVERNMENT Mr. MOORE. Thank you, Mr. Chairman, and Mr. Martin. My name, sir, is Dick Moore, and I am the editor of Equity maga- zine and a member of the National Council on the Arts and Govern- ment of which Mr. Weston is chairman. I shall summarize perhaps only that portion of the statement that deals with suggested amendments in deference to the committee and the limited amount of time available. Is that satisfactory, Mr. Chairman? Mr. THOMPSON. That is fine. Mr. MOORE. Perhaps in so doing I should state at the outset that the NCAG is wholeheartedly in favor of both H.R. 4172 and H.R. 4174, which Mr. Weston explains at much greater length in his state- ment. The NCAG respectfully submits to the select subcommittee two sug- gested amendments to H.R. 4172 and two points which we hope this subcommittee may wish to recommend for inclusion in the committee report which will accompany whatever advisory council bill may be approved by the Committee on Education and Labor. In the 86th Congress, in order to secure administration support and at the suggestion of the NCAG, a compromise text was introduced in both Houses by members of both parties. This text eliminated cer- tain provisions of the bill (S. 3419) approved by the Senate in 1956. The various bills introduced in the 87th Congress followed that com- promise text with slight variations. 5. 3419 specified that all seven major fields of art were to be equally represented on the advisory council. Its accompanying committee Report No~ 2409 emphasized the importance of "a high degree of technical competence" on the part of persons appointed to the council, and an explanatory sen- tence about the three members "who are not representative of any of the arts." In H.R. 4172, section 2, page 2, line 22, after "television" it is sug- gested that the following sentence be substituted for the present sen- tence before the next sentence: In view of the importance of including on the council persons possessing a high degree of professional or technical competence in relation to the various art fields, the President is requested in making such appointments to give consid- eration to such recommendations as may from time to time be submitted to him by leading national organizations in these fields, and not more than three per- sons, appointed primarily for their general interest in the promotion, preserva- tion, or patronage of the arts, shall serve on the council at any one time. The second suggested amendment is of minor importance and is merely a safeguard in case a conflict of responsibilities is anticipated between the Federal Advisory Council on the Arts and the Advisory Committee on the Arts which already functions. Naturally, the Ad- PAGENO="0094" 86 AID a'o n~E ARTS visory Council should not concern itself with projects or programs carried out overseas with assistance from t;he Government. This can be quite simply clarified by adding in section 7, page 7, line 5, to that sentence the following phrase: and the Advisory Committee on the Arts. This amendment is included in H.R. 5408. In administering Federal legislation for the arts, great care must be taken that the freedom of the arts shall be protected from aesthetic bias and political censorship or controls. This objective cannot be written into legislation but can be expressed as an intent of Congress in a committee report. To this end, Committee Report No. 2409 which accompanied S. 3419 stated: It is the intention of this committee that the Advisory Council, in carrying out its functions, shaii not, directly or indirectly, infringe or attempt to infringe in any way, shape, or manner upon the freedom of expression in the arts of impose or attempt to impose any form of censorship or governmental control or direction of the arts. The NCAG most earnestly hopes that this or a similarly clear state- ment of intent will be favorably considered for inclusion in the com- mittee report. This was not done in Committee Report No. 1660 which accompanied H.R. 7656 in the 86th Congress. The effectiveness of an advisory body depends in large measure on the leadership given, by the chairman. He should not only have the requisite abilities but also be sufficiently free from other responsibili- ties to be able to devote the necessary amount of time and energy. Also it would be preferable if his interest was not concentrated on only one field of art. There should of course be no restrictions as to the choice of chairman. However, the committee report might ap- propriately suggest that, in making appointments of persons who had a general interest in the arts, qualities of leadership and willingness to spare adequate time to such efforts might be given special considera- tion. In conclusion, in terms of Mr. Weston's statement on H.R. 4172, Mr. Chairman, the National Council on the Arts and Government whole- heartedly supports it. There is a further statement. With the Chairman's permission, may I read that? Mr. THoMpsoN. Yes; indeed. Mr. Moonn. At the outset, the testimony states that the NCAG be- lieves that the enactment of this bill is the most important way in which development of the arts on a grassroot level can be achieved. The statement c.ontinues: The NCAG wishes to submit a brief amendment for consideration by the subcommittee to H.R. 4174. This act wisely places upon state art agencies the responsibilities of pro- posing support (at least to 50 percent), and carrying out any art projects or programs for which Federal aid is received under this act. A minimum of Federal control or direction is involved. How- ever, unless the required approval of the Secretary of the Department of Health, Education, and Welfare for such projects or programs is merely perfunctory, some judgment must be exercised by him about matters which may be of a specialized nature relating to any field of art. The Secretary cannot be expected to have special competence PAGENO="0095" AID TO FINE ARTS 87 in such wide areas. In the opinion of the NCAG, whenever advisory opinions are necessary, they should be obtained from impartially selected professionals and through channels specified by Congress in this legislation. We do not believe the Secretary should be required to request advice in all instances, but the source of whatever profes- sional advice is obtained should not be left to the personal judgment of the Secretary. It is therefore respectfully suggested that in H.R. 4174 in section 4, subsection (b), page 4, line 9, the following sentence be inserted after the words "of subsection (a)": In reaching such decisions, the Secretary shall, whenever he deems it advisable, request the Federal Advisory Council on the Arts to provide advisory opinions from a special committee or committees in the field or fields of art concerned. The Federal Advisory Council on the Arts is instructed in H.R. 4172, section 3 (3), page 4, line 3, to- cooperate with local, State, and Federal departments and agencies to foster artistic and cultural endeavors. We believe that the method suggested above will be an effective way to do so. In closing, may I say, Mr. Chairman, that the National Council on the Arts and Government wholeheartedly supports the National Cul- tural Development Act and urges its early enactment. Mr. THOMPsON. Thank you very much. I have been looking at the suggested amendments and I agree that they have great merit. Also the suggestion for the report I consider has merit. In the original drafts of this legislation we did not require that the Advisory Council be confirmed by the Senate. I still have doubts as to the wisdom of that course or the need for it. However, on the full committee there are some members who fear that undesirable souls might find their way into this thing, people with whom they would not agree completely or with whose ideas they would not agree, and this is supposed to be the device by which subversives are kept off the Council. We have gotten, you know, beyond that stage where everyone who reads without moving his lips is suspect, but there are groups who still worry about the possibility of un-American, I should say, influ- ences on the Council. If this attitude persists, I suppose that we will have to have these people nominated by the President and ap- proved by the Senate where there appears to be a remarkably high degree of sophistication in the field of the arts, and in other matters, of course. Thank you for these very fine statements. Mr. Martin? Mr. MARTIN. I have, no questions. Mr. MOORE. Thank you, Mr. Chairman and Mr. Martin. Mr. THOMPSON. Our next witness is Mr. Eddie Weston, vice presi- dent of Actors' Equity Association. PAGENO="0096" 88 AID `ro pnci~ ARTS STATEMENT OP EDDIE WESTON, SECOND VICE PRESIDENT, ACTORS' EQUITY ASSOCIATION Mr. WESTON. Sir, I have a very brief prepared statement which I would like to read if I may. I have additional copies for the members of the committee. Mr. Chairman and members of the committee, my name is Eddie Weston. I am the second vice president of Actors' Equity Association, representing 12,000 actors in the legitimate theater throughout the entire United States. I am appearing today on their behalf. Our president, Mr. Ralph Bellamy, had hoped to be able to attend this session personally, but is in California at the present time. How- ever, he has asked me to read the following statement for him. GENTLEMEI~: I regret my inability to meet with you again today, but I wish to take this opportunity to assure you of Equity's complete support for the arts legislation which you consider now. This is not the first opportunity I have had to express my views on the establishment of a Federal Advisory Council on the Arts. In previous appearances before you, both as a private citizen and as president of Actors' Equity Association, I have spoken on behalf of such legislation. As you know, both the Democratic and Republican administrations have supported establishment of the Federal Advisory Council on the Arts. Currently before you are several bills, introduced by members of both parties, which would establish such a Council; similar legislation has been introduced into the Senate. Everybody has come out for this bill. Nobody has expressed themselves against it. Yet the bill never has been passed. We share a deep conviction that the abilities, skills, and talents of our artists will stand comparison with those of the citizens of any country in the world today. But the Government is not yet making full use of those abilities. Other governments put vast sums of money into the arts, not because they are esthetes or idealists who love the arts for themselves, but because the arts strengthen the bonds of unity and understanding between people, and explain them and their aspirations and ideals to their neighbors and the world at large. In the firm conviction that enactment of H.R. 4172 (to establish a Federal Advisory Council on the Arts) and H.R. 4174 (which would create the National Cultural Development Act) are in the best interests of our culture, our citizens, and our international relations, we urge their speedy adoption. RALPH BELLAMy. I would like, if I may, to read excerpts from two additional state- ments that may be of interest to you. One is from the President of the United States, John F. Kennedy; the other from former Vice President Richard M. Nixon. During the recent presidential election campaign our official publication, Equity magazine, posed questions to both candidates concerning their views on matters of particular con- cern to our membership. Here is that portion of their reply which deals with the proposals we are discussing today as quoted in the November 1960 issue of Equity. Incidentally, I note that Mr. Kenin, of the American Federation of Musicians, was kind enough to refer to this article, and one of the other witnesses referred to an article in the New York Times which, if I am not mistaken, is just a quote of this article from the Equity magazine. If I may, I will just read this brief paragraph because I think it bears repeating. President John F. Kennedy: I am in full sympathy with the proposal for a federally supported foundation to provide encouragement and opportunity to nonprofit, private, and civic groups in the performing arts. When so many other nations officially recognize and PAGENO="0097" AID TO FINE ARTS 89 support the performing arts as a part of their national cultural heritage, it seems to me unfortunate that the United States has been so slow in coming to a similar recognition. Former Vice President Richard M. Nixon: I wholeheartedly support the objective of stimulating the advancement of the performing arts and promoting increased public appreciation of their important role in our national life. I think that a good first step toward meeting that objective would be a pro- posal by this administration to create a Federal Advisory Council on the Arts within the Department of Health, Education, and Welfare. The Council would explore all aspects of the question-including the proper function of the Federal Government in cultural development-and make rec- ommendations as to the best methods by which we can encourage activity in the performance and appreciation of the arts as well as fostering participation in them. It seems to me that laying this groundwork is necessary before we go on to consider specific proposals such as the establishment of an independent U.S. Art Foundation to undertake operating programs ,as provided in the Javits- Clark bill. Once we develop the basic guidelines, we can then study alternative programs and choose the one that will effectively promote the full development of our performing arts. It is our earnest hope that this committee will take speedy action and give bipartisan support to H.R. 4172 and H.R. 4174 as the first step in a series of bills to revitalize the arts in our country. We are most grateful for the courtesy you have extended by allow- ing us to appear today. Thank you. Mr. THOMPSON. Thank you very much and we would like through you to thank Mr. Bellamy who appeared personally the last time we had hearings on this legislation. Mr. WESTON. Yes. He was very sorry he could not be here today, but I will communicate your kind wishes to him. Mr. THOMPSON. Are there any questions, Mr. Martin? Mr. MARTIN. I have no questions. Mr. WESTON. Incidentally, I have, if you would like them for the committee, the copies of Equity magazine with the full comments of Mr. Kennedy and Mr. Nixon. Mr. THOMPSON. We would like very much to have them. Mr. WESTON. Thank you. Mr. THOMPSON. Our next witness is Miss Peggy Wood of the Ameri- can National Theater and Academy. Good morning, Miss Wood. STATEMENT OP MISS PEGGY WOOD, AMERICAN NATIONAL THEATER AND ACADEMY Miss WOOD. Good morning, Mr. Chairman. I thank you. Mr. Chairman and gentlemen of the committee, it is a gratifying experience both as an actress and as president of the organization which Congress endowed with a Federal charter, the American National Theater and Academy, to be received here today on behalf of the bills you are considering. I might say that I have written what I am going to say, but I doubt if you would be able to understand the interlineations. Therefore, I will go on. 70259-61---7 PAGENO="0098" 90 AID TO FINE ARTS We of the performing arts have often appeared before committees in Washington in the past and, while we were listened to, we were seldom accorded much serious consideration. I ani sure you are tired of hearing the phrase in cultural affairs the "climate has changed" and therefore 1 will spare you further reference to that condition. But what a curious condition it is to be sure that such a phrase should have to be used in a civilized society. It implies that heretofore we have been barbarians. The real trouble I fear is- and here I may answer the question which Mr. Kenin asked: "When government supports libraries, museums"-and so forth-"why then is there objection to subsidy vitally needed to prevent the extinction of the career musician?" The real trouble I fear is that we have suffered the results of the blight of the Puritans who considered all art frivolous and the performing arts but manifestations of the devil. We may not be consciously aware of our former reluctance to accept the arts as vital to our society but it is there in the unconscious just the same. Congress has not been able subconsciously to justify sub- sidizing the arts because its atavistic conscience cannot justify spend- ing taxpayers' money on what some few voters might hold to be frivolities. ANTA, the American National Theater and Academy, was char- tered to "extend the living theater beyond its present limitations," in 1935, but has functioned under what may be called "Operation Boot- strap" ever since because no money was appropriated to assist this admonition. When the President's program came into existence in 1954 we formed an international committee of ANTA to put that program into action and you are all aware of the success of this function, cul- minating this year in the tremendous acclaim of the repertory theater headed by Helen Hayes. To operate this international section of ANTA we receive 5 percent of the money allotted to us to run the booking, transportation, and details. Now, I have heard this morning that $12 million had been allotted~ to the President's program during the past 6 years. Part of that, indeed half of that, goes to trade fairs and that is half of the Presi- dent's fund. We in ANTA receive the balance and, out of that, we are supposed to carry on the work of the international program. Now we are expected to service all the new countries that have come into being, but the money is still the same and therefore we have to take care of several, shall we say 100 more places, and we still have the same amount of money we previously had for 10 countries. But we are supposed to work the miracle. The manner in which we handle and choose who and what is to represent us over the world is done by three panels, the drama panel, the music panel, the dance panel. and two subsidiary panels of music and drama for the educational theater. The panels are composed of the absolute tops in their fields and are qualified to judge the quality of the artists proposed to be booked by the State Department and ANTA. On the music panel we have Dr. William Schuinan, the head of the Juilliard School of Music, perhaps the most famous music school in the world; we have Dr. Harold Spivake, chief of the Music Division of the Library of Congress; we have Virgil Thompson, one of Amer- PAGENO="0099" AID TO FINE ARTS 91 ica's greatest composers; Ray Harrison, music critic; two specialists on jazz; Dr. Carlton Sprague Smith, musical advisor to Lincoln Cen- ter-and many others who come to the monthly meetings from as far as California and Texas. On the dance panel we have Agnes De Mille, Martha Graham, Wal- ter Terry, the dance critic for the Herald Tribune, and others. On the drama panel we have Warren Caro of the Theater Guild, Elliot Norton, the famous Boston critic, Richard Coe from the Wash- ington Post, myself, and others. All of these panels serve without pay and are religious in attendance at the monthly meetings. They are all ruthless in refusing to recommend to the State Depart- ment anything or anyone not top drawer. This expertise-and I must say that `we have now found a new word. It used to be know-how. Now it is "expertise," so that I must be in the fashion and use the word "expertise." This expertise cannot be bought or even hired. Therefore I hope this committee will consider that with two already chartered organi- zations already functioning with experience behind them, ANTA and the National Music Council, this bill will accept their services and incorporate them in the final result, rather than duplicate what these chartered organizations have already done and are equipped to do by setting up other advisory committees or panels. You would have to call on the same people anyway to get the best advice, because they are the best in the country and, if you did not get the best, you would have second best and the second best would have to go to the best to be instructed. ANTA heartily endorses the bills introduced by Representative Thompson called H.R. 4172 and H.R. 4174 and respectfully calls your attention to itself and the National Music Council. As ANTA speaks its recommendation for these bills, you have already heard that the National Council of Music says the same. I wish that I had brought with me a report on the National Cul- tural Center here in Washington and the speech that the Honorable L. Corrin Strong made the other day when he said this, and he was quoting. As far as I remember it, it was that this person he quoted said that in the 18th century we achieved a political democracy and in the 19th century an economic democracy, and that he hoped that in the 20th century we would achieve and put into being a cultural democracy. Thank you very much. Mr. THoMPsoN. Thank you, Miss Wood. I hope that we can, too. I would like very much some time to see the National Cultural CCn- ter completed. I do not know where the $75 million is going to come from; nor do I know whether the~trustees, of which I am one, will finally decide to build, as I think the National Cultural Center should be built, a little bit at a time so that we perhaps can have an opera house before we have a restaurant or something like that. When you, for Mr. Martin's benefit, said "we" during your presenta- tion and your description of the selection of groups to go overseas, you meant ANTA, did you not? Miss WooD. Yes. I am speaking for ANTA. They asked me to speak to you. PAGENO="0100" 92 MD TO Ffl~E ARTS Mr. THOMPSON. And that has been the Government agency through which these groups have gone abroad. Miss WOOD. Yes. Mr. THOMPSON. I do think ANTA, the National Music Council, and the American Educational Theater Association have the best on their panels and have selected only top drawer people. I have felt, as one who has been intimately acquainted with the activities of these groups, that it is pitiful that the President's program has so little money and half of that should be devoted to trade fairs. However, last fall, during the campaign, President Kennedy and Mr. Nixon both called for a large increase in this program, financially and other- wise. It is not that trade fairs are unhealthy or are not good, but they do not achieve nearly as much as does Marian Anderson, for instance, or some of the other projects. Perhaps consideration should be given to separating them, and I am pleased to see that this is being done in legislation sponsored by Senator Fulbright (S. 1154) and Con- gressman Harris B. McDowell, Jr. (H.R. 5204). Consideration must also be given to enlarging greatly the amount of money available, to the inclusion of our many fine education groups, such as the Howard University Choir, and individuals, and young artists like Van Cliburn, in the program. Miss WooD. Yes, sir; because we have the same amount of money allotted now as was aflotted 61/2 years ago and we have 10 or 20 new countries to serve and it always has to be done on a nickel or two. If it were not that a great many of the people are dedicated to the serv~ ice of their own country, we could not get the fine artists that we have had. Mr. THOMPSON. The President's program has indeed done a re- markable job, but it should do much more, and it should be a true exchange program, inviting artists from abroad as well as sending artists abroad. I have made a speech or two on this and I shall in- clude one of them at the conclusion of your remarks. I feel quite strongly on this matter, since I was the author, with Senator Hubert H. Humphrey, of the act which made the President's program perma- nent, as I have mentioned. Mr~ MARTIN. I have no questions. Mr. THOMPSON. Thank you very much. (The following was submit.ted for the record:) [From the New York Times, Friday, May 19, 1961] SToCKHOLM REVIEWERS ARE MIXED IN REVIEws or U.S. STAGE TROUPE STOCKHOLM, SWEDEN, May 18.-Applause laced With disappointment was touched off here by the 3-night 3-play stand of the Theater Guild's American Repertory Company. Stockholm's reviewers joined today in applauding last night's performance of Thornton Wilder's "The Skin of Our Teeth" at the Royal Dramatic Theater here~ Characterizing Helen Hayes as "dazzling," and June Havoc as providing a "great experience," the semiofficial Stockholm Tidningen said "the best had been saved till last." It described Leif Erickson as having made a "brilliant recovery" from his opening performance Monday night. Such praise for the third of the three plays the troupe is presenting in Europe under the sponsorship of the State Department helped to cover the largely nega- tive reaction to the second attraction. William Gibson's "The Miracle Worker,U PAGENO="0101" AID TO FINE ARTS 93 put on here Tuesday night, was deplored by Dagens Nyheter, Sweden's leading paper, as a weak play whose "banal tendencies" the troupe was unable to conceaL Disagreeing, the Conservative Party newspaper Svenska Dageladet added, nevertheless, a double-edged comment `I'lie play about the childhood of Helen Keller, it said, had "a nobility one had hardly expected from American theater, even on its highest level." There was a sprinkling of empty seats through the house, apparently because a Swedish version has long been running here. The theater was full, however, for both "The Skin of Our Teeth" and for the opening bill Monday night, Tennes- see Williams' "The Glass Menagerie." Both critics and audience were generous with applause for the Williams play. But the labor-owned newspaper Aftonbiadet echoed some of the intermission comments in the lobby when it said Miss Hayes, with her "affected" performance, "was not in her best form, and the play was not either." All in all, the American Repertory Company's reception here was decidedly warmer than the cool one in Copenhagen 2 weeks ago. There the Berlingske Tiende, Denmark's leading paper, asked: "Is this American theater at its best? That we refuse to believe." The troupe opens tomorrow night in Helsinki, Finland, where Finnish National Theater directors have waited with fingers crossed ever since the composition of the company was announced. "It had better be good," one commented a couple of months ago. "The Rus- sians always send their best." [From the Congressional Record, Jan. 13, 1960] THE INTERNATIONAL CULTURAL EXCHANGE PROGRAM (Extension of remarks of Hon. Hubert H. Humphrey, of Minnesota, in the Senate of the United States, Wednesday, Jan. 13, 1960) Mr. HUMPHREY. Mr. President, many times in the past I have been proud to associate myself with the legislation on arts and culture introduced by Rep- resentative Frank Thompson, Jr., of New Jersey. In particular, I recall our bill passed by the 84th Congress to insure that the President's international cultural exchange program would become permanent policy. It is to the administration of that law-Public Law 860-84-that the dis- tinguished Representative from New Jersey referred in a speech on the Ameri- can Educational Theater Association on December 28, 1959; Representative Thompson said: "Under the current program of the President's international cultural ex- change program as administered by the Department of State, of 115 attractions which have been sent abroad, only a half-dozen or less than 6 percent, have been educational talent-university or college theater or music groups. * * This program is so weighted with professionals that it might justly be called the 6- percent program rather than the President's international cultural exchange program. It should also be noted that there is no cultural exchange in the pro- gram at all." Ambassador Liewellyn Thompson in Moscow and Ambassador Ellsworth Bunker in Delhi have requested the State Department to send young educa- tional talent in the arts to Russia and India, hoping to repeat the success of Van Cliburn, for example. However, the administration has only talked about this exchange and no young talent has been sent to either of these countries. Mr. President, I ask unanimous consent that this fine speech on recruitment of educational cultural talent for our exchange program be printed in the Ap- pendix of the Record. (There being no objection, the address was ordered to be printed in the Record, as follows:) ADDRESS BY CONGRESSMAN FRANK THOMPSON, JR., OF NEw TERSEY, BEFORE THE AMERICAN EDUCATIONAL THEATER ASSOCIATION, DELIVERED IN WASHINGTON, D.C., ON DECEMBER 28, 1959 Dr. Young, Dr. Cole, Dr. Selden, Dr. Morrison, distinguished friends and guests, it is an honor and a pleasure for me to have this opportunity to discuss with such a select group some of the pressing problems and suggested solutions which this 23d annual convention of the American Educational Theater Asso- PAGENO="0102" 94 AID TO FINE ARTS ciation must deal with. My remarks might well be titled "Democracy Needs a Broader Cultural Emphasis," since they are especially directed to the need for stimulating a more widespread cultural awareness in the United States and in sharing this enthusiasm with people throughout the world. I think it particu- larly important that we understand that our approach to the arts must be one of sharing them with other peoples, rather than one of using the arts for poli- tical ends. For if our primary purpose in our national policy is political we shall fail. Political results may very well follow as a result of sharing the arts, as indeed they have followed the educational exchanges authorized by the Fuibright and Smith-Mundt Acts. But in the arts as in education, it must be primarily a matter of exchanges, and this is something that is entirely missed in Washington these days due to a belief that everything from breakfast cereals to our way of life can be "sold." The American Educational Theater Association can exert a tremendous force for the stimulation of a signficant cultural impact which could be felt both in this country and abroad. Through positive action your association, in effective cooperation with other cultural organizations, can, with imagination, purpose- fulness and hard work, effect a cultural renascence. This will require your wholehearted direction, support, and effort-for, as Walter Lippmann has pointed out," the renascence will have to come from men of learnings"-men who know, because they live the intellectual life, what a renascence would be. How- ever, before we can achieve this goal of a fuller cultural awakening there are obstacles to be overcome. It is my deside today to discuss some of the areas, nationally and internationally, in which your particular kind of leadership is specifically required. Just recently, for example, Richard B. McLanathan, who was the curator of the U.S. art exhibit at the Moscow Fair (now director of the community arts program of the Munson-Williams-Proctor Institute at Utica, N.'Y.), reported to the U.S. Information Agency and other Government agencies that be found throughout Europe and the U.S.S.R. that people were looking to the United States for cultural leadership. People are looking for evidence that the United States will not only take up Mr. Khrushchev's challenge regarding economic competition, he said, but that we also will demonstrate more fully than we have done so far that we have "a lot to spare in the esthetic and cultural field as well." Mr. McLanathan further reported, I am told, that people throughout the world believed that the United States and its allies could withstand any economic or political pressures which the Soviet Union and its satellites might exert. We can do this, they are convinced, only if we are strong culturally. According to Mr. McLanathan, the people of the world believe the United States and the U.S.S.R. offset each other in the economic area. Their decision to follow either the United States or the U.S.S.R. ultimately will depend, he thinks, on the balance sheet evidence of cultural resources and leadership. History clearly documents the fact that civilizations are remembered more for their contributions to the fine arts, to music, the theater, to literature, to painting and sculpture and architec- ture than they are remembered by the battles which they have fought. It is my belief, and I know it can be documented, that one of the major ways in which we can turn reluctant and uneasy military allies-and the millions of uncommitted people of the world-into friends is to earn their respect through our own respect for our own cultural leadership and achievements in the deeply related fields of education, science, and the fine arts. As we know, President Eisenhower is a leading exponent of this point of view. In his speeches in India, for example, he called for a massive interchange of mutual understanding through exchange of students. I might add, parentheti- (ally, that he also took the lead in forming a very effective Committee of the Arts and Sciences for Eisenhower in the fall of 105G. For a number of years, 10 in fact, the great value of exchanring students, the leaders of tomorrow's world, has been proved by the successful Fuibright and Smith-Mundt programs. A massive expansion of these and other programs will be a welcome and valuable step toward creating the international understanding so essential to a permanent peace. Dare we hope that the forthcoming budget message of the President will recuest the funds which will be needed to finance the President's massive exchange? I look forward anxiously to the opportunity to vote for such a program. My colleagues and I would, I am sure, be much more willing to appropriate the additional funds needed to implement these massive exchanges if the State Department shows the same good judgmorit it ha~ PAGENO="0103" AID TO FINE ARTS 95 displayed in the Fuibright and Smith-Mundt programs and works with and through our country's major educational organizations for the implementation of these new exchanges which the President has called for. I am concerned, however, that the President has endorsed massive exchanges as a grand design because I question how well this will actually be carried out in the field of exchanges in the arts-your association's particular interest-as long as all public funds for cultural and artistic exchanges are chaneled through one organization, the American National Theater and Academy, and no other organization, even the American Educational Theater Association, or the Na- tional Music Council which-like ANTA-has a congressional charter, is per- mitted to develop any know-how in this vital area because of the restrictive prac- tices of the Department of State. Yet, at the same time, the leading educational organizations such as the American Council on Education and the National Education Association, and the Institute of International Education, are given a major role by the State Department in the Fulbright and Smith-Mundt programs. To illustrate what I have in mind, under the current program of the President's international cultural exchange program as administered in the Department of State by Mr. James Magdanz of 115 attractions which have been sent abroad only a half dozen, or less than 6 percent, have been educational talent-university or college theater or music groups. In my opinion, and also in the opinion of such important national groups as the National Education Association, the National Association of Schools of Music, the National Music Camp at the University of Michigan, the Music Educators National Conference, the National Art Education Association-to name only a few-this program is so weighted with professionals that it might justly be called the 6-percent program rather than the President's international cultural exchange program. It should also be noted that there is no cultural exchange in the program at all, as there is in the Fulbright and Smith-Mundt programs. So we now find that many of the Nation's most talented performers, its young artists, who could be our country's most successful cultural ambassadors, witness Van Cliburn, are actually used less than 6 percent of the time. For the record I will read from some of the glowing newspaper and official reports on the success of the performances of our university theater groups who haved toured abroad just in case Mr. 1~Iagdanz and Mr. Robert H. Thayer, Special Assistant to the Secretary of State for the Coordination of International Educational and Cultural Relations, missed them. The reaction of people in Latin America, India, and parts of Africa was significant. These accounts prove beyond a shadow of a doubt the great and lasting impact America's talented young artists are making wherever they are given the opportunity to appear by our cloistered policymakers. "The visit of the University of Minnesota players to S~iio Paulo was a success from every point of view," we are advised by the American Consulate General. "They attained a level of the best professionals in many countries in Latin America," according to the Diario de S~o Paulo. The American Embassy, New Delhi, reported home~ that the Wayne State University Players were "a fine group and did an amazing job in the face of many vicissitudes while they were in Delhi. Their performances were excel- lent. They met people well and were eager and enthusiastic in their contacts with Indian students and other play groups. They made an outstanding contri- bution, with a grueling schedule, to the feeling of good will and in the advance- ment of knowledge about the American university drama." The American Embassy in Ghana. reported that the Florida A. & M. Uni- versity Players "had a net effect favorable to the United States. * * The `players were quite effective in their social relations with Ghanians before and after their performances, and left many fast friends behind them when they left Ghana:" This report is supported by the comment in the Ghanaian that ¼Themr visit is a fine example of what can be done by actors who love the theater and are willing to give their spare time to not only the glamorous side of it but also to the equally exacting tasks of stage management and general organization." Clearly, talented groups of this type can be a major asset to `the United States in its program to give the peoples of the world a broader understanding of America's culture and purposes. As you know so well, since you pioneered it, the Department of Defense sends a large number of college and university drama and music groups abroad to entertain our troops in distant theaters of operation. These groups are much more popular with our troops than most professional PAGENO="0104" 96 AID TO FINE ARTS entertainers. When they are abroad on these tours why doesn't the State Department and the U.S. Information Service cultural affairs officers schedule them for appearances before young people of the countries in the countries they are visiting, including university audiences, thus saving tax money and spreading America's message at one and the same time? I think it is significant to note that early in October at the very time that Mr. Robert H. Thayer (special assistant to the Secretary of State) was speaking in New York City to the President's Music Committee about the difficulty of includ- ing young educational talent from our institutions of higher education in the President's special international cultural exchange program he was advising Members of Congress that Ambassador Liewellyn Thompson had requested that such young educational talent in the arts be sent to Moscow. Ambassador Thompson was moved, no doubt, to make this request by the astonishing success of Van Cliburn, a Juilliard graduate, who, by the way, received absolutely no financial help from the President's program. His expenses were paid with funds raised by the Institute of International Education from the Martha Baird Rockefeller Fund. Mr. Thayer also told us that Ambassador Ellsworth Bunker had requested that young educational talent in the arts be sent to India. What then becomes of the classic defense of the Department of State of its present program's virtual exclusion of young people; that American cultural affairs of- ficers and top Embassy people have demanded the great professional groups and don't want educational talent? The State Department, by the way, has done nothing to date about these significant requests by the American Ambassadors in the U.S.S.R. and India except to study them. The agreement for cultural exchanges with the Soviet Union includes a pro- vision for "university exchanges of faculty and students," and clearly this agree- ment doesn't rule out educational talent in the arts. There is no reason why we cannot work out this particular type of exchange of educational talent with the U.S.S.R. and other Iron Curtain countries, just as we have with so many other countries under the Fuibright and Smith-Mundt programs where between 3,000 to 4,000 of the 35,000 to 40,000 exchangees during the past 10 years have been in the arts. That this is so is shown by a New York Times article of December 25, 1959, to the effect that one of the U.S. students who went to the Soviet Union last September is studying at the Moscow Musical Conservatory. The New York Times says: "The U.S. Government is understood to be strongly in favor of continuing and enlarging the student exchange program. Officials remark that the American students during their academic year in Moscow or Leningrad are able to be- friend more Russians than any American diplomat or news correspondent can do during his entire service in the Soviet Union. "Young Americans and Russians are reported to be establishing personal contacts in lecture halls, libraries, cafeterias, and dormitories of Soviet institu- tions of higher learning with ease and eagerness. This alone, in the opinion of U.S. officials, would be sufficient for justifying the entire exchange program and advocating its expansion. * * * "Kenneth Holland, president of the Institute of International Education here, declared that `it is important for us to have students who know the U.S.S.R., even if they do not advance in their specific fields' in the course of their Russian year. "Mr. Holland talked with many American students during a visit to the Soviet Union earlier this year. He said he was impressed with their knowledge of Russian affairs and had found that despite the limitations they were encounter- ing their experience was invaluable." If President Eisenhower's call for massive exchanges is to be carried out with maximum effect then the United States should embark upon a broad program to provide two-way cultural exchanges with all nations, with particular em- phasis on young people. You will be pleased to know that Senator Hubert H. Humphrey, Democrat, of I\Iinnesota, Representative Harris B. McDowell, Demo- crat, of Delaware, and I have introduced legislative proposals (S. 1827; HR. 6876 and H.R. 7533) to put this type of program into effect. We want to see the Humphrey-ThomPson Act (Public Law 860, 84th Cong., which made the Presi- dent's special international cultural exchange program permanent) amended to specifically provide for more widespread cultural exchange of young artists and art groups, and we think that at least 50 percent of the funds appropriated for this program should be devoted to young Americans if the President's call for massive exchanges is to have any real meaning. We hope President Disen- PAGENO="0105" AID TO FINE ARTS 97 hower will support this, and that he will call in his budget message next month for an immediate raising of the present picayune $2 million to an amount respectably nearer the $20 million which he annually requests for the Fulbright and Smith-Mundt programs. I was very pleased to hear that the Young Democratic Clubs of America, at their recent national convention, adopted a resolution which urges the Republi- can administration to utilize the power they have been given not only to send throughout the world our large artistic groups and universally accepted artists whose appeal is primarily to the sophisticated audiences of the world's capitals, but also the groups with fine artistic merit who would represent our local creativity and to include ill the exchange program, as was intended by the spon- sors of the legislation, young artists of great merit. I completely support the idea that we should create and help finance with Federal funds university circuits at home and abroad. Such programs would certainly more fully display our cultural achievements and assets as well as help us learn more about the people of other nations. Here the sharing of our cultural resources with the people of other nations, which I mentioned earlier, would have significant meaning and results. In my considered view, the ques- tion of whether one or another great American orchestra plays with that extra shade of polish, and is a fraction better in its technique than a similar great aggregation in Europe or the Soviet Union cannot compare with the importance of reaching and influencing the leaders of tomorrow's world through our young American student exchanges in all fields. For this reason, the national showcase program which my colleague, Repre- sentative Harris B. McDowell, Jr., has recently espoused, and which passed the House of Representatives with the help of the leaders of the American Educa- tional Theater Association in 1052 and was passed over without prejudice in the Senate at the same time, is a plan which has my wholehearted support. For years I have wanted to see our talented young American artists given more recognition on the national scene and particularly through a program in the Nation's Capital by which their talents could be displayed to the Nation and the world. As a corollary, then, to a national showcase program there should be a world- wide Olympiad of the Arts and Sciences held regularly in Washington, D.C., which would afford competition between talented young people from all nations. Such an arts and sciences competition could sponsor contests for awards in piano, cello, violin, youth orchestras, choral and chamber groups, ballet, folk dancing, and other forms of the dance such as ballet in which the U.S.S.R. excels, painting, sculpture, readings, and drama and poetry presentations. It is also desirable that under this program comparable talent competitions in the Nation's Capital be held in mathematics, physics, biology, and the other sciences. These Olympiads should be judged by an international jury of renowned artists and specialists in the various fields. The winners would immediately attain international recognition and be awarded substantial prizes. It is quite rea- sonable to assume, I have been advised by Dr. Oliver J. Caidwell, Assistant Commissioner for International Education, U.S. Office of Education, a long-time and able advocate of the proposal for a worldwide Olympiad of the Arts and Sciences, that such an international Olympiad program, if carefully planned, would be as significant as the Nobel Prize Awards in the years to come. As President Eisenhower said at Delhi University in India: "More enduringly than from the deliberations of high councils, I believe mankind will profit when young men and women of all nations and in great numbers study and learn together. In so doing, they will concern themselves with the problems, possibilities, resources, and rewards of their common destiny. "Through the centuries nations have sent their youth armed for war to oppose their neighbors. Let us in this day look on our youth, eager for a larger and clearer knowledge, as forces for international understanding; and send them, one nation to another, on missions of peace." As we go forward, then, along this great highway into the future to a less troubled era I believe we can be resourceful enough to find the best possible methods to surmount any roadblocks which may be planted by those with axes to grind. I have in mind, for instance, the fact that the American Educational Theater Association already has a committee for U.S. touring by foreign uni- versity dramatic groups. I understand that this committee is at work seeking private engagements in the United States for educational groups from other countries, and it should have-if it is to really accomplish its great objectives, PAGENO="0106" 98 AID TO FINE ARTS both status and public funds comparable to the program the American National Theater and Academy carries on for the Department of State. A word about the little matter of the double expense in presenting perform- ances of professional foreign artists in our country because of union policy that American artists must be paid during a performance even though these American artists are not performing in the attraction. Here a bit of states- manship is required on the part of top State Department officials. My, my, if they can't develop a policy to surmount such a roadblock, how can they possibly negotiate successfully with other nations? My own suggestion, for what it is worth is as follows: If there are to be standbys, then why not react to this situation by providing, under the Presi- dent's cultural exchange program, that such matching funds be utilized in a way similar to the funds of the music performance trust fund which is managed by representatives of the American Federation of Musicians, AFL-CIO, the broadcasting industry, and the public. Standby funds could and should be used to provide increased employment of American artists and, at the same time, cultural attractions could be offered under the fund's auspices throughout the United States. Cooperative arrangements could undoubtedly be worked out by the Department of State, with the blessing of the Congress, between the theater and music industry, the Federal Government, and such powerful unions as Actors' Equity Association, the Associated Actors and Artistes of America, AFL-CIO, the American Guild of Musical Artists, and the American Federa- tion of Musicians, or whatever the unions involved. All it takes is good will on both sides and I know this is present. In my opinion, if we are to capture the imagination and the minds and hearts of the peoples of the free world as well as the millions of uncommitted peoples- the United States must more definitively supply the energy, the resourcefulness, the creative power and talent which is ours to give than it has done so far. If this is to take place then several steps must be taken by the American Educational Theater Association in cooperation with other national educational organizations concerned with the arts in education. You must work together toward- 1. The establisment of a permanent division at the State Department in the Bureau of International Cultural Relations to handle the massive exchanges in the arts which must be developed as a central and integral part of this massive exchange program which President Eisenhower has called for. Such a perma- nent division must be headed by a distinguised educator, and must be staffed by leaders drawn from the arts departments of our colleges and universities. At the same time, the Advisory Committee on the Arts established by the Humphrey- Thompson Act (Public Law 860, 84th Cong.) must be reorganized and strength- ened with the addition of leading educators from our college and university art departments. For several years now, every time the White House appointed people to an art commission in Washington, the District of Columbia Auditorium Commission, and the Advisory Committee on the Arts at the State Department are examples, the names of George Murphy and Robert Montgomery-from Hol- lywood via the Republican National Committee turned up. The names con- spicuous for their absence, even from the Advisory Committee on the Arts of the National Cultural Center were those of Dr. Howard Hanson, director of the Eastman School of Music, and president of the National Music Council, other officials of the National Music Council, and distinguished art educators gener- ally. At the present time the official directly in charge of the President's cul- tural exchange program at the Department of State is Mr. James Magdanz who has no background at all in the arts. He is a former budget officer, and no doubt a good budget officer. However, many of the present limitations of this vital program, for instance, its virtual exclusion of educational talent, is di- rectly due to an astounding lack of familarity with today's significant fine arts programs in our Nations' colleges and universities on the part of leading State Department officials. (H.R. 6876, Thompson; H.R. 7533, McDowell; and S. 1827, Humphrey, go to the heart of the problem sketched here.) 2. The status and quality of our cultural affairs officers abroad must be sharply raised, and legislation will be offered soon to do this. 3. The establishment of a worldwide Olympiad of the Arts and Sciences and a national showcase program in our Nation's Capital has been developed by Representative McDowell, and will be introduced early in January 1960 by several sponsors in both Houses. 4. The establishment of a Federal Advisory Council on the Arts in the Depart- ment of Health, Education, and Welfare. Sponsors include Senators Hubert H. PAGENO="0107" AID TO FINE ARTS 99 Humphrey; Paul H. Douglas; and James E. Murray; and Representatives Emanuel Celler; John V. Lindsay; James G. Fulton; Seymour Halpern; Stuy- vesant Wainwright; Lee Metcalf; Carroll D. Kearns; Edith Green; Dominick V. Daniels; Robert N. Giaimo; Carl Elliott, committee chairman; and John A. Lafore, Jr., and Frank ~hompson Jr. 5. The establishment of the position of Special Assistant to the Secretary of State for the Coordination of International Educational and Cultural Relations has passed the Senate under the sponsorship of Senators J. William Fuibright and Hubert H. Humphrey. House sponsors include Representatives Wayne L. Hays, Stuyvesant Wainwright, John V. Lindsay, James G. Fulton, and Frank Thompson, Jr. 6. If the American National Theater and Academy is to continue in the future to enjoy its special privileged status as sole professional manager of the State Department's cultural exchange program with other nations then ANTA's reor- ganization must be sought. As you know, ANTA was chartered by the Congress ir~ 135 as a theater organization and it is undoubtedly rendering as great a service to the American theater and to American drama as the National Music Council-likewise chartered by the Congress-is rendering to American music. When the State Department selected ANPA in 1954 for the important role of professional manager of the President's cultural exchange program which was authorized by the Congress in July of that year, ANTA set about creating ad- visory panels in music, the dance, and so on and more recently has established academic screening committees to advise it on outstanding talent in our colleges and universities in the performing arts. These latter committees are: The over- sea touring committee of the American Educational Theater Association, and the academic screening committee of the music panel. After 5 years the time has come, I am convinced, to expect ANTA, in fairness and justice to the other art fields, to elevate these advisory panels and academic screening committees to a position where they are an integral part of ANTA itself, and in full charge of their respective fields of interest in the arts. These panels and committees should, at the same time, be broadened to provide the American Educational Theater Association, the National Music Council, the Music Educators National Conference, and the National Association of Schools of Music and other similar grouns a more significant role in keeping with their importance in our society. ANTA would be a true arts council. Alternatively, the American Educational Theater Association and the National Council of the Arts in Education should be contracted with directly by the State Department to manage our developing program of educational exchanges in the arts of the theater. For ANTA to continue to manage our cultural exchange program for the State Department without such significant internal changes would be comparable to the Department of Defense contracting with General Motors to manage its entire procurement program covering everything from submarines and airplanes to tanks and trucks. You can well imagine what giant aircraft companies like Douglas and Boeing and great automobile manufacturing companies like Ford and Chrysler would think of this. If it became known that the Defense Department was even considering establishing the kind of arrange- ment the State Department has with ANTA the outcry occasioned by Defense Secretary Wilson's remark that "What is good for General Motors is good for the country" seem like a lark by comparison. There are other areas directly relating to the arts fields which I want to discuss with you also-and briefly because of the time limitation. For several years I have urged that the status of our cultural affairs officers be raised and given a status equal to that of cultural affairs officers of other nations. I have introduced legislation to effect this change. We must create a career foreigim service system in the U.S. Information Agency equal to that in the Department of State-of which it was originally an integral part to insure the ability to recruit high caliber people. Abbott Washburn, Deputy Director of the U.S. Information Agency, recently urged the need for legislation to correct the present deplorable situation. He pointed out that- "The system under which we continue to operate is unsatisfactory for a num- ber of reasons. Americans in our oversea service may hold appointments only as Foreign Service Reserve or Foreign Service Staff officers. Chiefly because of the lower ceiling on staff salaries, the Agency's most important and valuable officers-our public affairs officers and other top officials overseas-hold appoint- ments as Foreign Service Reserve officers which in no sense meets our needs for a career service system. Reserve appointments are authorized under the Foreign Service Act for temporary service not to exceed 5 years. While Reserve PAGENO="0108" 100 AID TO FINE ARTS officers are accorded the same salary and allowances as Foreign Service officers, the limitations on tenure make the Reserve category an antithesis of a career service. In addition, Reserve officers have no job security. Under the law, they may be separated at any time for any reason. "As you know, many of our posts are located in areas where work is demanding and living is hard. Moreover, the work, itself, whatever the location, requires experience, expert knowledge, and a high level of ability and character." Cultural affairs officers are, indeed, key men in the long-range program of presenting America's cultural image to the world. They surely deserve to be recognized as permanent career officers. I intend to continue to push for legislation which would accomplish this necessary change. When the Congress convenes I am very hopeful, too, that we will act quickly to establish a Federal Advisory Council on the Arts. In my opinion this would represent a significant cultural step forward on the part of the Federal Govern- ment. A Federal Advisory Council on the Arts would formally recognize the essential role of the Government in promoting the arts. "There should be a Federal advisory agency as provided in several bills now pending before Con- gress," a resolution adopted by the Democratic Advisory Council on December 7, 1959, says, "with general authority to assist in formulating plans to develop the cultural resources of the United States, and to promote general appreciation of the beauty and educational value of works of art, literary and musical com- positions, and of the contribution of performing artists in all fields." It is interesting and significant, I think, from a long-range point of view, in our Nation's cultural development that the bills in the Congress to establish a Federal Advisory Council on the Arts, and to carry out much of the legislative program I have outlined in my remarks today, now have the support of strong elements in the Democratic Party at the national level. The Young Democratic Clubs of America at their Toledo, Ohio, national convention in November 1959, and the Democratic Advisory Council at its New York City meeting on December 7, 1959, endorsed the bills in the Congress in support of the fine arts. It will be interesting and important to observe if the organizations of the Republican Party follow suit, with regard to the fine arts legislation in the Congress-much of which has been sponsored by individual members of the Republican Party-including the bill for a Federal Advisory Council on the Arts which Président Eisenhower first recommended to the Congress in his message on the State of the Union in 1955. The fine arts must have bipartisan support, just as our foreign policy does. Unfortunately, the Republican Party has tended to regard the arts in a more personal light as a handmaiden of political advan- tage. I need only remind you that the Committee of the Arts and Sciences for Eisenhower (CASE) established in the fall of 1956 had as its purpose, not the advancement of the fine arts, but the election of a leading official of the Repub- lican Party. Such a committee can only discount the great purpose which the fine arts have in any democratic society. Certainly Thomas Jefferson and the other Founding Fathers never conceived of the arts in this particular context. We in the Congress would deeply appreciate hearing much more than we do at present from the cultural leaders of our States and districts just as we presently hear from representatives of labor, agriculture, commerce, and industry. How many of you have contacted those sponsors of fine arts legislation in the Con- gréss to tell them you appreciated their introduction of fine arts bills in the Con- gress? I'll wager not many, yet this is an essential part of the democratic process. The need for greater understanding and support of the cultural activities of the Federal Government must be developed at the grassroots level, and must be given wider publicity. I would hope that the American Educational Theater Association will, as a part of its work here in its annual convention, adopt strong resolutions in support of some of the matters which I have discussed with you today in order that we as a Nation may move forward in 1980 along the hard and difficult road to artistic and cultural maturity. More of our citizens must come to know about the forthcoming $60 million funds drive for the National Cultural Center and the exciting plans of architect Edward D. Stone for it which are now sorely threatened by a road-and-bridge complex developed by the Republican-controlled city government of the District of Columbia which doesn't have to account to the voteless citizens of Wash- ington for its actions and which has had no firm direction from President Eisen- hower who appointed its members. There is the added riddle of what the Na- tional Cultural Center will do about the educational fine arts. Despite the law which specifically lists the educational fine arts, including even the children's PAGENO="0109" AID TO FINE ARTS 101 theater, there is little evidence that the present movers and shapers of the Na- tional Cultural Center have any plans for educational theater. Few of the country's leaders in educational drama and music have been appointed to posi- tions of influence, and few men of wealth have been appointed to the Board of Trustees. We can only hope for the best, but the American Educational Theater Association should certainly call for appointments of leaders from the fields of the educational fine arts to the Advisory Committee, on the Arts of the Na- tional Cultural Center, and condemn by an outright resolution the present plans for a bridge-and-road complex which the Commission of Fne Arts has found unacceptable. I would like to say a word about the 45-room hospitality mansion which the American Council on Education, with which the American Educational Theater Association is affiliated, has purchased with Ford Foundation Funds ($500,000). The AETA is a real grassroots group and the Nation's most representative and powerful theater group. Certainly the AETA should have a special position at the new headquarters of the American Council on Education. commensurate with its special and deserved position in our country's cultural life. In the past there has been no adequate headquarters for the reception of such special groups as were intent on learning about America firsthand, such as professors, students, correspondents, and others from nations across the face of the earth. Certainly in such an exciting program the American Educational Theater Association must and should have a role equal to that of the recently formed Institute of Con- temporary Arts which is local and confined to the District of Columbia in its operations. In closing, let me say that we must turn the spotlight on the arts by dramatiz- ing across the Nation, through all the various media of communication, the ex- citing possibilities of our cultural resources. The stage is set for action, the players are on hand-only your direction will assure effective performances. The times in which we live demand that democracy's show must go on. Mr. THOMPsoN. We have as our next witness, Miss Sally Butler, director of legislation, General Federation of Women's Clubs. You are welcome, Miss Butler. Thank you very much for coming. STATEMENT OP MISS SALLY BUTLER, DIRECTOR OP LEGISLATION, GENERAL FEDERATION OP WOMEN'S CLUBS Miss BUTLER. Thank you, Congressman Thompson. I am glad to come. I am sorry that the president, Mrs. E. Lee Ozbirn, could not come. She wanted very much to. Mrs. Ozbirn is tremendously in- terested in the subject. Mr. Chairman and Mr. Martin, for the record, I am Sally Butler, director of legislation for the General Federation of Women's Clubs. In order that the record may show something about the general fed- eration, it was chartered by the Congress in 1901. The purpose wü set out in that charter and was defined in part as follows: * * to bring into communication and to unite~women's club and like organiza- tions throughout the world for the purpose of mutual benefit, and for the promo-' tion of their common interest in educational, industrial, philanthropic, literary, artistic, and scientific culture as interpreted and implemented by established policy. I would like to say here that, as policies, our different States carry out the same program as the general federation, and that in the States they deal with the subjects. For instance, they will have a State art exhibit. We have resolutions on TV and' radio and cer- tainly we have one on educational television, which the general federa- tion supports tremendously because we think it is important. To show that we are interested as a group in the arts also, the women of the general federation raised money and built a building in Inter- lochen, Mich., where students can go and study during the summer months. PAGENO="0110" 102 MD TO FINE ARTS Those are just a few items that I did not put in this report. The General Federation of Women's Club is set up so that there is a chairman of fine arts in every State and also in most of the nearly 16,000 clubs. The membership is made up of women who are homemakers in every club and totals more than 5 million women who are affiliated with the federation from every State in the Union, including the District of Columbia which, for club purposes, is considered as a State, and as an international organization has ap- proximately 5 million members in 50 other nations. The federation has supported legislation through the years that has been designed to encourage and develop programs which would stress the value of the cultural aspects of our people. There are awards offered in many States to encourage the young people to study cultural subjects such as music and painting. These programs differ but in some States we have scholarships and hold auditions and people often go to places like the Chicago Musicland when they have that festival annually in Chicago. The general federation, from the time legislation was proposed to build a national cultural center in our Capital, has worked to help get such legislation enacted into law. Our members who travel abroad and meet with clubwomen in their native lands, know that almost every large capital in the world has a national cultural center of some sort. It may be a national gallery, a symphony hail, or a general culturaicenter. It is time that the United States of America, as a mature nation, have a real national cultural center in our National Capital. The image of our maturity as a nation will be enhanced when we demonstrate that the cultural aspect of life is as vital as the industrial or professional fields of our national economy. We express this in the general federation over and over again. Our General Federation is in full accord with Congressmen Frank Thompson, Jr., of New Jersey, and other members of Congress who are promoting the cultural phase of American life, and we do know that there are many bills that are identical and some that differ m minor things. We support Members of Congress wholeheartedly when they introduce legislation which, when passed, will bring into being a Federai Council on the Arts and, of course, it is very neces- sary to have an Advisory Council on the Arts, composed of truly qualified people. We are not trying to be too specific, generally, on who is selected but we urge that qualified people be chosen in order that such legis- lation may really serve the people of our Nation, as intended by bills H.R 5172 and H.R. 4174. I stress "qualified people" because such appointments, when made, must be made because the persons, * and organizations they represent, vitally interested in the arts and * in service to our country in an informed, intelligent manner and not because such persons are members of a national committee or because of any personal or superficial reasons. We think that one of the most vital things that could happen for * the success of this bill is to have qualified people, the right people, on the Council. It was because the president of the General Federation of Women's Clubs, Mrs. E. Lee Ozbirn, feels so keenly that the success of any cultural center in our Nation's Capital must represent the best of our PAGENO="0111" AID TO FINE ARTS 103 culture that she wrote to Congressman Kearns, of Pennsylvania, urg- ing that Mrs. Jacqueline Kennedy, the wife of the President of the United States, be made Chairman of an Advisory Council for the Arts in our Nation's Capital. Mrs. Ozbirn, as does any well in- formed, intelligent person, knows that Mrs. Kennedy is an expert in the arts. We could go on to say that we feel Mrs. Kennedy should be appointed because of that interest and because of her prestige as the wife of the President. We are conscious that this program was pushed as much under Mr. Eisenhower as it is now. It does not belong to any one party or any one administration and it should not belong to them but, because Mrs. Kennedy is an expert, we think that her ap- pointment would lend much support from people who do not know too much about the program but look to the people that support it. We feel that it would advance the program to do so. We want to preserve the culture of our historic past as well as to make it possible for the present and future generations to develop the cultural arts in our country. We believe seriously that it is the culture of any great Nation that lasts and lives. Other phases of physical strength may pass but the artistic and spiritual culture leave a lasting influence on civilization. While I specifically say here that we urge Congress to take favor- able action on these specific bills, our interest is not so much on just which bill is passed so much as that the intent of these two bills gets into language. We think it will be very, very worthy and worth- while. Mr. THOMPSON. Thank you very, very much, Miss Butler, and I hope you will thank Mrs. Ozbirn for authorizing your appearance. Miss BUTLER. I will because she called me in just before I left and said, "Oh, how I wish I could go." Mr. THOMPSON. Mr. Martin? Mr. MARTIN. I have no questions. Mr. THOMPSON. Thank you. Miss BUTLER. Thank you. Mr. THOMPSON. Our next witness is Mr. Patrick Hayes, past presi- dent of the National Association of Concert Managers and consultant, cultural presentations program, Bureau of Educational and Cultural Affairs, Department of State, who is responsible personally for the fact that Washington does have so much good music and good theater. I think he is more responsible for this than any one else. We could say a lot more about him. We are delighted to have you, Pat. STATEMENT OP PATRICK HAYES, PAST PRESIDENT, NATIONAL ASSOCIATION OP CONCERT MANAGERS; AND CONSULTANT, CUL- TURAL PRESENTATIONS PROGRAM, BUREAU OP EDUCATIONAL AND CULTURAL APPAIRS, DEPARTMENT OP STATE Mr. IiAY1~s. Mr. Chairman and Mr. Martin, I do not have a pre- pared statement. I do have prepared material. I will be brief. For the record, my name is Patrick Hayes, Washington, D.C., and at the end of my testimony I will hand this prepared material to the clerk for the record. PAGENO="0112" 104 AID TO FINE ARTS At the outset, I must issue some disclaimers. I will appear as a Washington concert manager and radio commentator on the subject of people and events in the world of music. I will not attempt today to speak for my colleagues throughout the Nation who are concert managers; nor do I have authority to speak for the State Department. I note that that is foreign policy and these bills concern domestic matters. Before I come to these paragraphs, may I have the privilege to ad- dress a comment to Mr. Martin on two questions. You asked just specifically what would this Federal Council do? You wanted an exam~ple. What would they talk about at the first meeting? How would they get the show on the road? Later you asked Dr. Thomas Gorton, dean of fine arts at the TJni- versity of Kansas, how the whole intent here could become operative in educating our young people more along cultural lines. In both questions you struck the very thing that is principally on my mind in testifying today. That is that I would recommend that at this first meeting of the Federal Advisory Council that the No. 1 item on the agenda be the use of television, notably educational tele- vision in all of the 50 States, bearing maximum usage in mind, pro- grams of the finest quality not only available in the home but directly piped into the schoolrooms and college classrooms with attendance required, and course credits being given for those attending. As an example, the Shakesperian series, the Age of Kings, recently seen only on a few stations on the eastern seaboard, the finest of dramatic productions, which well might be introduced on such an educational network under congressional action. ANTA, for which the charming Miss Wood appeared, could pre- sent the dance in beautiful form, and note too that color television has come into the scene. Such are the programs. Further than that, I have held the view for a long time that our true centers of culture in the United States are our universities. I know this at first hand. My distinguished father-in-law, Dean Don- old Swarthout, whose name you may know, was Dean Gorton's prede- cessor. I may say that, in his administration at the University of Kansas, the talk about the football teams disappeared when they talked at meetings with the deans. Quite apart from Hollywood or Broadway, this richness can spring from our college campuses where more and more beautiful facilities are in existence, notably the center at the University of Kansas, which I have had the pleasure of inspecting from top to bottom. One of the most beautiful theaters in the world is in Lawrence, Kans., and I can see programs not only there but on educational tele- vision to go throughout the area. I hope that will be item No. 1 on the agenda when the Council meets. I heartily endorse both H.R. 4172 and H.IR. 4174, Mr. Chairman. I find, in reading them carefully, that they both qualify on a funda- mental point in our society. that initiative rests with the individual person or city, county or State. and Federal action comes into play only when the request for advice. guidance, information, or actual money gets to Washington. Anything else would be Federal control, and I would oppose such a proposition. PAGENO="0113" AID TO FINE ARTS 105 When people say, as more and more people are saying, that the Government should do something, the tendency is to interpret this expression as meaning that the Government should run the arts in the country. Comparisons are made with France, Great Britain, Can- ada, and many European and Latin American nations, which do have cultural institutions owned and supported entirely by the state. This is their way of doing it. It works, for them. It would not work here, because the philosophy of the system is not the American philosophy of private initiative. `What should be done in America, and what these two bills would start happening in America, is to provide a system of national encour-. agernent of the arts, through a council or commission in `Washington, and to make provision for financial grants upon local request through the State governments with no strings attached and on a basis of matching funds-we build hospitals this way. under the Hill-Burton Act. As it happens, now is a sensitive time for consideration of these bills, and there is need for a clear understanding abOut the proposed relationship of the Government and the arts. No one disputes that there is need for greater cultural development in the Nation. Presently established organizations need more money, and local resources are reaching the point of no return. The arts can- not stand still, any more than a progressive people or a nation can stand still. If a symphony orchestra is to stay in being, and extend its season by many weeks a year, it needs money to do so. The same applies to opera companies and ballet and dance companies. The business of the proposed Federal Advisory Council on the Arts would be to research the fundamental questions involved, spot the problems in consultation with. people from all parts of the country, and set standards and bases of qualification for grants to be made. `What these bills do and the course they chart will set the tone and indicate the direction of our cultural development for a generation to come. They should err on the side of caution for a long time-and make progress slowly. Fortunately the pace of cultural progress is up to the States and their cities and towns, and a rapid pace is pre- dictable because of the known restlessness at the local level to get more done. This restlessness here in Washington expresses itself in impatience at the delay in getting the National Cultural Center under- way; in the need for a longer home season for the National Symphony Orchestra; a longer season for the Washington . Opera Society, and for the Washington Ballet; the need or desirability of a cOnservatory of national prestige such as the Congress authorized in 1891-which is still a part of the basic law of the land-being located here. Other cities have similar or identical needs, and are restless to get going. There is no one distressed area in the field of the arts. The problem is entirely national and widespread. The only variables are those of degree-New York City, giant that it is, has its problems-it almost lost Carnegie Hall; it may lose the Metropolitan Opera House; Lin- coin Center is still a long distance from its total financial goal. Cheyenne, Wyo., has no opera house or opera company, and in Ican- sas City the beautiful Music Hall in the municipal center is vacant more nights than it is occupied by performancs of music, dance, and drama.. There is need of places to play, and a critical need of more organized companies to perform. 70259-61--S PAGENO="0114" 106 AID TO FINE ARTS This lack of organized companies has become apparent in the opera- tion of the international cultural program-we are now beginning to repeat ourselves-after 6 years of operation. We must do more than send the same symphony orchestras and the same few ballet and dance companies abroad. The creative challenge is the paramount one in the performing arts. We have the talent-we abound in talent-the need is for money, more money than any one city or person or founda- tion. alone can put in. This means that the whole Nation, represented by our Government, must step in, intelligently and wisely, in accord- ance with the classical principle of our free society, that Government. should only do for the people those things they cannot do of or by themselves. Dedicated to only the best in quality, and to the system of matching funds granted to local projects which arise out of local initiative, the Nation's cultural growth and development could speed ahead for the enjoyment and benefit of all. There will be those who ivill argue beyond this principle-for a grand design in the arts in America, nm from Washington or New York. They can take a lesson from no less an authority in a field much greater than the arts-history itself, and Arnold Toynbee. Mr. Toynbee's book, "A Study of History," volume XII, was reviewed last week in the New York Times book review section, and the caption is a pronouncement of caution: For Toynbee, "history is an open road, not a pattern that is predetermined." To paraphrase the Times book reviewer, I would say, let the path of our cultural development be an open road, not a predetermined pattern. This simple statement is an argument for the utmost freedom in the arts-freedom of initiative, freedom of choice, freedom of opportunity. Finally, without prepared remarks, I make reference to one state- ment several times stated today that, of course, the two bills are not enough, but they are something. An old Chinese proverb comes to mind that, for every long journey, there must first be a first step. Mr. THoMPsoN. Thank you very much, Pat. I quite agree with that. I do think that, if this legislation is enacted, it will create a healthier attitude within the Congress to legislation of this type. It is so modest, I believe, that no one need have any fear of it, and that it will indeed just be that first step. Mr. Martin, do you have a comment or question? Mr. MARTIN. I enjoyed your testimony very much, Mr. Hayes. I am glad you made reference to the two questions I asked earlier. I feel that educational television is of tremendous importance in the United States and I understand that we have had legislation intro- duced in regard to the Government sponsoring educational television. I do not believe it has come for hearings yet; has it? Mr. Tiio~rrsoN. No; it has not. Mr. MARTIN. I think it would be of tremendous impetus in the country along cultural lines if we could greatly expand this operation. I know we have a station at the university there at Lincoln, Nebr., which was No. 12, I believe, and I understand that there are 53 edu- cational TV stations in the country at the present time. Mr. HAYES. To comment further on that, the potential is limitless and I should say, in general, that reference material abounds world- wide as well as in our own country. PAGENO="0115" AID TO FINE ARTS 107 For example, in Germany the radio networks are controlled entirely by the state. There is no commercial radio or TV at all. The post- man picks up, I think, the equivalent of a dollar a month from each household on a regular billing basis and that money goes entirely for this purpose. There are seven principal centers, each of which pro- duces special programs which are taped and rotated among the others so that you can imagine that what could be done in Denver could be sent to Lincoln, what could be done in Anchorage, Alaska, could be sent to Hawaii. When you think of the talent we have and the fine programs to be produced, the hours of playing time would be limitless. It is a thrilling projection. Mr. MARTIN. I quite agree. Mr. HAYES. If I could address a comment to my good friend, Mr. Thompson: H.R. 4174 is modest, yes, in terms of money, but we can- not weigh the impact of the prestige of this. If this becomes an of- ficial matter of our Government in the national interest with a state- ment from the White House at the time the bill is signed to that effect, you see how much that would mean. I am reminded of the hearing on another bill of yours that re- lates to this. Recognition is the key thing, the official pat on the back. We had no medal to give Van Cliburn when he came from Moscow. We have a military medal. We gave that to the astronaut the other day. There should be some provision for recognition of these people. I mention that as a comparative point that the mere fact that these bills might pass at this time in 1961 in the century of cultural de- inocracy would have an effect right down the line. It would en- courage notably our young people to enter this field. Mr. Kenin mentioned earlier, where does the young musician go when he gets his degree from Juilliard, the University of Kansas, the University of Nebraska, Curtis, Peabody, the Eastman School in Rochester? The doctor, the lawyer, the businessman know where to go. Where does the young musician, and, notably, where does the young composer go? These are some of the challenges for the Federal Arts Council. Mr. THOMPSON. We have had before us in previous Congresses the distinguished civilian award on which we had hearings and which passed this House. It was held up in the other body as being illiberal for some undefined reason and we had great difficulty with it here because some of my colleagues on this committee feared that an award would go to foreigners or to people whose political ideas are not the conservative ones and to people who might not conform. We argued that there is very little politics in music and that poli- tics was not to be considered in this matter. We had an unhappy ex- perience with that legislation. I do agree that recognition is the thing. Some of the skeptics when we were arguing for the congressional charter for the National Music Council said, "Oh, well, it will take years and years for anything to happen and it is just a lot of ma- larkey." The ink was not dry on the legislation after President Eisen- hower had signed it when the National Music Council was off and running and is growing like topsy even today. PAGENO="0116" 108 AID TO FINE ARTS Thank you very much, Pat. (The statement referred to follows:) BROADCAST BY PATRICK HAYES, WGMS, SUNDAY, MAY 14, 1961, 12:30 ~r., WOODWARD & LOTIIROP Good afternoon. There is a hearing tomorrow morning at 10 o'clock in room 429 of the Old House Building. Sitting will he the Select Subcommittee on Education of the House Committee on Education and Labor. Congressman Frank Thompson of New Jersey, is chairman of this select subcommittee, with six other members who give the group a good national representation-one from Illinois, one from Washington State, one from Michigan, Nebraska, Indiana, and two others besides Thompson from New Jersey. The hearing is on two bills now before the Congress: H.R. 4172, to provide for the establishment of a Federal Advisory Council on the Arts to assist in the growth and development of the fine arts in the Nation's Capital and else- where in the United States; and HR. 4174, to establish a program of grants to States for the development of programs and ijroiects in the arts, to assist in the growth of the fine arts in the Nation's Capital, and for other purposes. Both bear the name of Mr. Thompson as sponsor. There are companion bills in the Senate. I propose to testify in favor of both bills, and express myself with some fervor. Both bills qualify on the fundamental point in our society that initiative rests with the individual person or city, county, or State, and Federal action comes into play only when the request for advice, guidance, information, or actual money gets to Washington. Anything else would be State control, or Federal control, and I would oppose such a premise. When people say, as more and more people are saying, that the Government should do something, the tendency is to interpret this expression as meaning that the Government should run the arts in the country. Comparisons are made with France, Great Britain, Canada, and many European and Latin American nations, which do have cultural institutions owned and supported entirely by the state. This is their way of doing it. It works, for them. It could work here, but the philosophy of the system is not the American philosophy of private initiative. What should be done in America, and what these two bills would start hap- pening in America, is to have provided a system of national encouragement of the arts, through a council or commission in Washington, and to make provision for financial grants upon local request through the State governments with no strings attached and on a basis of matching funds-we build hospitals this way under the Hill-Burton Act. As it happens, now is a sensitive time for consideration of these bills, and there is need for a clear understanding about the proposed relationship of the Government and the arts. No one disputes that there is need for greater cultural development in the Nation. Presently established organizations need more money, and local re- sources are reaching the point of no return. The arts cannot stand still, any more than a progressive people or nation can stand still. If a symphony or- chestra is to stay in being, and extend its season by many weeks a year, it needs money to do so. The same applies to opera companies and ballet and dance companies. The business of the proposed Federal Advisory Council on the Arts would be to research the fundamental questions involved, spot the problems in consultation with people from all parts of the country, and set standards and bases of qualification for grants to be made. The proposed Federal Advisory Council would be a part of the Department of Health, Education, and Welfare. There would be 21 members appointed by the President, with an executive secretary who would obviously be a key official. I cannot imagine more important staff work to be undertaken in any field than would face this executive secretary and his staff. What they do and the course they chart will set the tone and indicate the direction of our cultural development for a generation to come. They should err on the side of caution for a long time and make progress slowly. Fortu- nately the pace of cultural progress is up to the States and their cities and towns, and a rapid pace is predictable because of the known restlessness at the local level to get more clone, This restlessness here in Washington expresses itself in impatience at the delay in getting the NCC underway; in the need for a longer home season for the NSO; a longer season for the opera society, and PAGENO="0117" AID TO FINE ARTS 109 for the Washington Ballet; the need or desirability of a conservatory of na- tional prestige located here. Other cities have similar or identical needs, and are restless to get going. Senator Javits of New York sounded an optimistic note last Sunday in an article on the front page of the New York Times amusement section headed "New Cultural Climate." His opening sentences read: "The climate has been improving in the country for a national arts program. I believe the people are ready, through their elected representatives in the Congress, to enact a Federal program to help the development of our Nation's cultural resources in the per- forming and visual arts." He then goes on to say that he has been trying since 1949 to get Federal help for the arts, and this is the first year that he is confi- dent that the country has reached the point when the needed public support can be marshaled to bring about the adoption of the legislation. He reminds us that both presidential candidates expressed affirmative views on the arts in America, and that the President's Commission on National Goals made important find- ings relevant to the problems which exist today in the arts. There is no one distressed area in the field of the arts. The problem is entirely national and widespread. The only variables are those of degree-New York City, giant that it is, has its problems-it almost lost Carnegie Hall; it may lose the Metropolitan Opera House; Lincoln Center is still a long distance from its total financial goal. Cheyenne, Wyo., has no opera house or opera company, and in Kansas City the beautiful music hail in the municipal center is vacant more nights than it is occupied by performances of music, dance, and drama. There is need of places to play, and a critical need of more organized companies to perform. This lack of organized companies has become apparent in the operation of the international cultural program-we are now beginning to repeat ourselves- after 6 years of operation. We must do more than send the same symphony orchestras, and the same few ballet and dance companies abroad. The creative challenge is the paramount one in the performing arts. We have the talent- we abound in talent-the need is for money, more money than any one city or person or foundation can put up. This means that the whole Nation, repre- sented by our Government, must step in, intelligently and wisely, in accord- ance with the classical principle of our free society, that government should only do for the people those things they cannot do Of or by themselves. Dedicated to only the best in quality, and to the system of matching funds granted to local projects which arise out of local initiative, the Nation's cultural growth and development could speed ahead for the enjoyment and benefit of all. There will be those who will argue beyond this principle-for a grand design in the arts in America run from Washington or New York. They can take a lesson from no less an authority in a field much greater than the arts-history itself, and Arnold Toynbee. Mr. Toynbee's book, "A Study of History," volume XII, was reviewed last week in the New York Times book review section, and the caption is a pronouncement of caution: "For Toynbee, History Is an Open Road, Not a Pattern That Is Predetermined." To paraphrase the Times book re- viewer, I would say let the path of our cultural development be an open road, not a predetermined pattern. This simple statement is an argument for the utmost freedom in the arts-freedom of initiative, freedom of choice, freedom of opportunity. Mr. THOMPSON. Our next witness is Mr. Richard L. Coe, the dis- tinguished dramatic critic of the Washington Post and Times Herald. STATEMENT OP RICHARD L. COB, DRAMATIC CRITIC, THE WASH- INGTON POST AND TIMES HERALD, WASHINGTON, D.C. Mr. COE. Thank you, Mr. Chairman. I do have a prepared state- ment and, rather than take much time, I think it would be batter if I read just a few sections of it and make a few references to some of the discussion which has preceded me. Mr. TiJoi~IPsoN. We will print your statement in its entirety follow- ing your comments. Mr. CoB. Fine. Thank you. PAGENO="0118" 110 AID TO FINE ARTS What I would like to stress is that it is sometimes stated quite erroneously that in our country governmental promotion of the arts is an unknown sea. This is far from true as the gentlemen of Con- gress are fully aware. We have our great Library of Congress, the National Gallery of Art, the Freer Gallery, which are homes from time to time of the per- forming arts as well as of the more reflective ones. The Defense De- partment finances theatrical tours to oversea troops and all branches of our armed services are noted for their many bands. The Commerce Department pays keen-and fiscal-attention to international film festivals and fairs. The Agriculture Department has created many distinguished films. The ICA rebuilt many war-shattered theaters of Europe. The State Department currently is scanning enthusiastic reports from the tour of 15 European nations which the Helen Hayes company is now making. No; the arts are not disrespected nor unsupported by our Federal Government. We have every reason to be proud of what we have done and I much regret that the general, even the specialized, public often appears unaware of the Government's activities in these cultural matters. I express that because I feel that the projection is not very clear. The questions really before us are the next steps. What should be done? What can be done? How? This morning we have gone into a great deal of this and, while I am in favor of both bills, I would like to call attention to the sugges- tion which Mr. Dick Moore made through the testimony of Harold Weston of the National Council of the Arts and Government. I feel that this is a very vital point which he points out, suggesting an amendment: In administering Federal legislation for the arts, greatest care must be taken that the freedom of the arts shall be protected from esthetic bias and political censorship or controls. This objective cannot be written into legislation, but can be expressed as an intent of Congress in a committee report. I would like, very strongly to second this particular aspect. I would like to call attention to some of the many other bills that have been increasingly before the Congress in recent sessions. I feel that it is extremely heartening and that it shows that we have genuine interest in the Congress. I think that the differences between the Javits bill in the Senate and the Thompson bill of the House are perfectly able to be alined and that in conference there could be some agreement of how the council of Mr. Thompson and the foundation of Mr. Javits could he com- promised to work together. On Mr. Cheif's bill, I would like to point out that what he calls the National Center of Performing Arts is, I think, a better title than the National Cultural Center. I myself am rather afraid of that word "cultural." I think that it loses us friends and makes us seem absurdly self-conscious; so that, for that reason, Mr. Chelf's previous hills of a few months ago using the term "National Center of Performing Arts" I would like to see taken up. I feel that it would, in the long run, help the public to understand what we are trying to do. As for H.R. 4174, I am extremely enthusiastic about it. I think it is a very healthy scheme because it would work through the States PAGENO="0119" AID TO FINE ARTS 111 in establishing a program of grants to the States with theproviso that the States themselves must initiate plans and activities. This is a healthy scheme, because if only through the universities at first, now so active in the arts, creative activity could be stirred and audiences inspired. There are, out in the States, more people than the theater's professionals seem able to guess, who are promising crea- tors and there are lively audiences. I think of the yearly $20,000 voted by the Virginia State Legislature to the Barter Theater, and of New York's espousal of tours by companies started in New York City. Under H.R. 4174 the challenge would be up to the people of the 50 States and I am confident that enough would meet it to gratify those favoring this bill. For in the increasing stranglehold of bigness in the performing arts, this bill could create breathing space. Its phraseology suggests that the State treasuries need not supply the initial payments to be matched by Federal funds. These could be raised privately, at the local level, through individuals or the foundations, working then into a State program~ The plan also means that only States which wish to participate would be involved initially. I should imagine only .a few would take it up. In time their effectiveness would prove contagious. So, H.R. 4174 seems to me a workable plan and a natural progres- sion in the congressional steps which started in 1935 with the charter- ing of the American National Theater and Academy. That act of 26 years ago was a definite precursor of what we are discussing today and, properly guided, Mr. Thompson's bill could provide an orderly sequence and prove rich in value to our country. Thank you. (The complete statement referred to follows:) TESTIMONY OF RICHARD L. CoR, THE WASHINGTON POST & TIMES HERALD Gentlemen, several times in the past 15 years I have bad the honor and most sobering responsibility of speaking before a distinguished committee of the U.S. Congress. The first concerned the need for our city's theater not to discriminate their audiences on a racial basis. That question, ultimately resolved, led to far wider issues than the theaters of our city. That it did so suggests that the arts play an often unrecognized, wider role in national opinion. The second time I appeared before you concerned legislation which would alter laws governing the appearance of children on Washington stages. This was re- solved and, from the record, well and honorably so through your considered actions. A third time the question concerned fitting auditoria for this city which would, indirectly, serve the Nation as well. Legislation was passed and while action on the matter has been painfully slow, the cause is not yet lost. I go into these past matters because on those and several other occasions I have been able to testify strongly for a specific, clear-cut, single action. Today's subject is by no means so concrete. Perhaps the longer one lives in this city of all Americans, the more impressed one becomes of the vastness and depth of any single, particular action. Whatl am sure of, certain of, today is that some action must be taken to stem the tide of general ignorance which is sweeping over the landmarks of man's past. Some ways must be found to combat the superficial, easy, misleading, dangerous values which resulted from too much communication in a time of increasing leisure. And, because private sources and leaders are either unable or unwilling to cope with the problem many of us feel it falls to the Govern- ment to initiate action. PAGENO="0120" 112 AID TO FINE ARTS Ways must be found to keep the best alive, easily and constantly before the young whose values can easily be corroded into thinking that the latest rage indicates the greatest progress. Our present ways allow little or no room for the greatness of the past without an awareness of which man can foolishly delude himself. It sometimes is stated, quite erroneously, that in our country governmental promotion of the arts is an unknown sea. This is far from true as the gentle- men of Congress are fully aware. We have our great Library of Congress, the National Gallery of Art, the Freer Gallery, homes, from time to time, of the performing arts as well as the more reflective ones. The Defense Department finances theatrical tours to overseas troops and all brallches of our armed services are noted for their many bands. The Commerce Department pays keen and fiscal attention to international film festivals and fairs. The Agriculture Department has created many distin- guished films. The ICA rebuilt many war-shattered theaters of Europe. The State Department currently is scanning enthusiastic reports from the tour of 15 European nations the Helen Hayes company is now making. No; the arts are not disrespected nor unsupported by Our Federal Govern- ment. We have every reason to be proud of what we have done and I much re- gret' that general, even the specialized public, often appears unaware of our Government's activities in these cultural matters. The questions really before us are the next steps. What should be done? What can be done? How? From the many bills in this field increasingly introduced these recent congres- sional years, the observer can see that some kind of national planning is evol- ving. Mr. Thompson's bills, H.R. 4172 and HR. 4174, seem to me specific im- provements over ones with like themes he has introduced in past sessions. They are more specific, more clear as to intent in an admittedly vast field. After studying both H.R. 4172 and several introduced in the Senate, I find a promising relationship between H.R. 4172 and S. 1250, introduced in the Senate by Mr. Javits. These have several like intents, differing in specifics, most notably in governmental channeling of Mr. Thompson's Council and Mr. Javits' Foundation. Because the subject is an intricate, precedent-shattering one, it would seem to me that in conference some agreement on the salient points of the two bills could be reached. I think much effort could be avoided by con- ference on these two bills. About HR. 4174 I can be far more concretely affirmative. I am in favor of it because it would work through the States, establishing a program of grants to the States with the proviso that the States themselves must initiate plans and activity. This is a healthy scheme. Surely, if only through the universities at first, now so active in the arts, creative activity could be stirred and audiences in- spired. There are, out in the States, more people than the theater's profes- sionals seem to be able to guess, who are promising creators and lively audiences. I think of the yearly $20,000 voted by the Virginia State Legislature to the Barter Theater and of New York State's espousal of tours by companies started in New York City. Under H.R. 4174 a challenge would be up to the people of the States and I am confident that enough would meet it to gratify those favor- ing this bill. For in the increasing stranglehold of bigness in the performing arts, this bill could create breathing space. Its phraseology suggests that the State treasuries need not supply the initial payments to be matched by Federal funds. These ~could be raised privately, at the local level, through individuals or the founda- tions, working then into a State program. The plan also means that only States which wish to participate would be involved. Initially, I should imagine, only a few would take it up. In time effectiveness would prove contagious. So, H.R. 4174 seems to me a workable plan and a natural progression in the congressional steps which started in 1935 with the chartering of the American National Theater and Academy. That act of 26 years ago was a definite precur- sor of what we are discussing today and, properly guided, Mr. Thompson's bill could become of orderly sequence and rich value to our country. Mr. THOMPSON. Thank you very much, Mr. Coe. My feeling is that the Arts Foundation bill which Senator Javits has sponsored would be subject more to the argument against centralization than PAGENO="0121" AID TO FINE ARTS 113 H.R 4172 and H.R. 4174. The Federal Government would be put directly in the art business, and every Member of Congress would soon become an art critic. We had a taste of this situation in the WPA art project days. More recently, the art at the Brussels World Fair and the Moscow Fair has been criticized. There was the famous case of the National Symphony being forced to cancel a program it had scheduled for General Eisenhower's first inaugural. Art, just like education, must be free of Government control. The secret to a flourishing art program in our country is Federal financial aid free of centralized control. HR. 4172 and H.R. 4174 are long steps in the right direction. I shall include a statement on this subject prepared for delivery by Mr. Weston of the National Council on Arts and Gov- ernment to the National Music Council. STATEMENT BY HAROLD WESTON, CHAIRMAN OF THE NATIONAL COUNCIL ON THE ARTS AND GOVERNMENT TO THE NATIONAL Music COUNCIL It is a pleasure to speak to you on legislation for the arts, but the time allotted is too short to do more than touch a few high spots. I shall concentrate on three bills before Congress of special concern to the National Music Council. However, let me comment first on recent State developments. References are often made to the system of Government aid to the arts in England through the Arts Council of Great Britain. That system seems to many of us who have studied the problem far more suited to individual States than *the traditional European method of an official department of the arts. New York is the first State to inaugurate such a plan. The New York State Council on the Arts was established last October as a research agency. Last winter a number of us worked very hard and the legislature finally granted Governor Rockefeller's request and appropriated $450,000 for this council. It has now become an operating art agency. The allocations of the funds were announced last week together with the names of many of .the 50 cities and towns which will benefit from this program-$80,000 of the total will under- write special tours upstate by the Buffalo, Rochester, and New York symphony orchestras. At least 14 States have art commissions of one sort or another, usually lim- ited to architecture and allied arts. One was started in Florida last year. The Commonwealth of Massachusetts has one under study. A number of States help to finance special ventures in the performing or visual arts, but, as far as I have been able to find out, New York is the only State which assists both performing and visual arts through a State art agency. Other States will watch this experiment keenly and, it is to be hoped, will be encouraged to establish similar or comparable systems. The two States almost prepared to do so are Michigan and Washington, which recently created art commissions of somewhat different nature. The much larger Michigan Cultural Commission was only formed in November and the Washington State Arts Commission in March. Neither has been granted more than administrative expenses, so it is premature to report their plans or just how they will attemp to advance the arts in their States. If Congress approves the National Cultural Development Act, which I will describe later on in some detail and which seems to me the most significant forward step in relation to State aid to the arts, States will have a real incentive to create operating State art agencies. The three major art bills before Congress of interest to the National Music Council concern (1) a Federal Advisory Council on the Arts, (2) the National Cultural Development Act, and (3) the U.S. Arts Foundation. There are several other bills I would mention if there were time. It hardly seems necessary to restate the many arguments in favor of a Federal Advisory Council on the Arts which is generally recognized as the most impor- tant first step in Federal recognition of the role of the arts in our national welfare and in the development of closer relationships between the Federal Government, State and municipal governnients, and private ellterprises and the arts. For this purpose Senator Humphrey sponsored S. 741 with eight cosponsors and Congressman Thompson of New Jersey introduced H.R. 4172 in the House where six other similar bills were introduced by members from both parties. The Select Subcommittee on Education of the House held a hearing on this legislation and on the National Cultural Development Act on May 15. PAGENO="0122" 114 AID TO FINE ARTS The art section of the New York Times of May 7 carried a long and optimistic article by Senator Javits on U.S. aid to the arts. Although he has been a cosponsor for the past 5 years of legislation to create a Federal Advisory Council on the Arts, he saw fit to state: "We really do not need an intermediate step of an Advisory Council," implying that the only legislation needed to forward the arts in the United States is the U.S. Arts Foundation which be alone spon- sors in the Senate. I most emphatically disagree with this conclusion. One can hardly be blamed for suspecting that Senator Javits' casual dismissal of the Advisory Council is due to the publicly expressed opinion of the National Council on the Arts and Government and other organizations that one of the early tasks of that Advisory Council should be to study Senator Javits' bill for a U.S. Arts Foundation and advise Congress what functions the National Music Council, and the American National Theater and Academy, both chartered by Congress, should perform in relation to that Foundation. Senator Javits has so far not clarified that point or explained why these two well-established organi- zations are ignored in his plan. Senator Javits quotes a statement made by President Kennedy last fall, but does not mention that the only specific measure for the arts which Mr. Nixon endorsed during the campaign was the creation of an advisory council for the arts with the comment that "this groundwork is necessary before we go on to consider specific proposals such as the establish- ment of an independent U.S. Art Foundation to undertake operating programs." Recalling that President Eisenhower first proposed this advisory body in 1955, it would seem that Senator Javits in this matter does not concur with the leaders of his party. In any case, there is wide bipartisan support for this measure in Congress. Its passage last year was blocked by the House Rules Committee. I am confi- dent that it will be enacted by the 87th Congress and fervently hope that wiU be accomplished at its 1st session. The most valuable way in the long run for the Federal Government to chan- nel financial aid to the arts, in the opinion of the NCAG, is through a system which requires and stimulates State and community action in behalf of the arts. Such a method was introduced in the Senate by Senator Clark with two cosponsors (5. 785) and in the House H.R. 4174 by Congressman Thompson of New Jersey and four other identical bills by members of both parties. These bills are titled the National Cultural Development Act. They would authorize yearly allocations of not over $100,000 to any State having a suitable State art agency and proposing specific projects or programs in any field of art for which the State, through a combination of public and private resources, will provide not less than 50 percent of the required funds. It can reasonably be assumed that this ceiling will be raised when this system has proved its value. The State art agencies initiate and administer the desired projects or programs based on surveys of needs in developing the cultural resources of that State. The Secretary of the Department of Health, Education, and Welfare decides whether the proposed undertakings qualify for Federal support. A minimum of Federal control is involved. When the Federal Advisory Council is created, States can turn to it for ex- pert advice, if so desired, about what method seems best to create a State art agency, what projects or programs to undertake in relation to available fa- cilities, organizations, private efforts and resources, and similar problems . The Secretary of HEW can also turn to that Advisory Council for expert advice, when needed, in reaching his decisions. However, there are areas of our country where State and local initiative in relation to the arts is sadly lacking and where there is urgent need for Govern- ment help to make the arts available to the population of those areas . Few States have State. art agencies suitable to receive grants under the NCD Act. It may be claimed that it will take years to establish such agencies in a ma- jority of States. This is an argument in favor of the earliest possible approval of this act rather than a reason for delay. The time is ripe to begin. The example of some States enriching the lives of their citizens in this way will create popu- lar demand in other States to make the necessary effort so that their States will give due attention to the arts. Until most States participate, the NCD Act will not by itself be able to provide the Federal cooperation needed to augment the cultural vitality of our country as a whole. It is precisely for areas which have been called cultural dust bowls and for particular fields of thG arts that a complementary or second system for Federal aid is urgently needed now. To give two examples: the theater has ~ruetieahly PAGENO="0123" AID TO FINE ARTS 115 disappeared in some States and in the largest cities, even in New York, it is only a shadow, numerically at least, of its vigorous past; almost all symphony or- chestras end their short seasons in the red and their share from the NOD Act cannot be expected to alter that situation appreciably, for a long time to come. Senator Javits' S. 1250 for a U.S. Arts Foundation supersedes his S. 936 and includes the visual arts in addition to the performing arts. Congressman Hal- peril's H.R. 4427 has not yet been revised to include the visual arts. This foundation could supply the second or supplementary method, but until it is sponsored by influential Democrats in both Houses, which I hope it will be, there is little likelihood that it will get very far in the 87th Congress. Senator Javits in his New York Times article attributes to his proposal the stimulus to State and local initiative of matching funds. S. 1250 states: "The Foundation shall, wherever practicable, develop the principle of matching funds with States and interested agencies, public or private." The escape clause "wherever practicable" means that it is not a mandatory requirement as it is in the NOD Act. Unless a State or agency has to raise matching funds, it is open to serious question as to how often matching funds will be forthcoming. Furthermore, an outstanding value of the Javits' proposal, in my opinion, is that the Foundation could help those areas of the country or of the arts where matching funds cannot be expected. Therefore, I would not recommend that the matching principle be made mandatory in this legislation. Again referring to that Times article, Senator Javits compares the U.S. Arts Foundation to the Canadian and British systems. There are significant differ- ences which I shall not go into now. Although an arts council system is highly suited to a smaller area, such as New York State, a decentralized method for `Federal aid seems to me far better for our country as a whole. Indigenous cul- tural traditions are rapidly disappearing under the impact of the increasing trend to standardization. The arts flourish best under conditions of greatest freedom from conformity. Government aid to the arts will enrich our civiliza- tion far more if the initiative of the artist and the special cultural interests of the community are encouraged and fostered.. Insofar as possible, whatever Government aid is provided for art projects or programs should not be deter- mined by a few taste makers with power to dispense Federal funds for the arts throughout the country. The National Cultural Development Act would operate from the grassroots up; the U.S. Arts Foundation, largely from the top down. There is need for both systems. When Senator Javits revised his proposal to include the visual art's, he did not increase the number of trustees who alone would control the allocation of the anticipated annual appropriations of $10 million. Assuming that this system of Federal aid to the arts is the only step taken by Congress to help the arts, as Senator Javits seems to desire, then 13 persons, in~ may opinion, should not be granted that degree of responsibility and power. They would have a direct in- fluence in all the various fields of the performing and visual arts including fields, such as painting and sculpture, divided by conflicting esthetic points of view. Merely to increase the number of trustees is not the solution. Rather, their re- sponsibilities should be appreciably simplified by delegating to existing or future .organizations chartered by Congress administrative functions for their respective fields of the performing arts and only create new committees, councils, or panels when necessary. This would avoid duplications and take full advantage of years of highly commendable experience. The trustees would still have heavy duties, such as: (1) apportionment of available funds to the different fields of the performing and visual arts, (2) decisions as to which geographical areas needed special help, (3) approval of and priorities for specific projects or programs proposed by the administering agencies, (4) appointment of new committees, councils, or panels when appro- priate agencies do not exist, (6) annual reports to the President, and so forth. Now we finally come to the major purpose of my remarks to the National Music Council. Since the Federal Advisory Council has not yet been created, I have drafted a suggested amendment to S. 1250, which would also apply to H.R. 4427, to rectify the omission in this legislation of any reference to your organization and ANTA. There is, I am assured, no legal reason why either or both of these organization, since chartered by Congress, should not receive appropriations from Congress to carry out the activities proposed for the Foundation in their respective fields of the performing arts. Sooner or later a national organization for the dance field will be formed; it is already being discussed. Provision should therefore be made for it to function in the same way when sufficiently developed and chartered by Congress for such activities. PAGENO="0124" 116 AID TO FINE ARTS Thus the suggested amendment is stated as a matter of principle in language that clearly refers to your organization and to ANTA but purposely does not name them. The amendment will be clearer if I read, first, the present first sentence in S. 1250, page 8, line 4, section 6(a) under the heading "Administration and Enabling Authority": "The Foundation may appoint committees or councils or panels concerned with particular regions of the country or with particular aspects of the performing or visual arts, or both, and composed of persons who need not be Trustees of the Foundation, or of organizations." This sentence is incorporated into the suggested amendment, which would replace it, as follows: "In carrying out its responsibilities under section 4 insofar as they relate to the performing arts, the Foundation shall request existing organizations chartered by Congress for activities in a given field or fields of the performing arts to administer for the Foundation such programs or projects as the Foundation may approve for that field or those fields and to expend therefor such funds as may be allocated to that organization by the Foundation. When necessary or when such an organization has not been chartered by Congress for a given field of the performing arts, the Foundation may appoint committees or councils or panels concerned with particular regions of the country or with particular aspects of the performing or visual arts, or both, and composed of persons who need not be trustees of the Foundation, or of organizations." The last sentence of that section G(a) would remain unchanged. Following its usual procedure, the YCAG is seeking the opinions of organiza- tions most concerned before voting on the above amendment or submitting it to the appropriate congressional commitees. ANTA has determined its stand. We now request the decision of the National Music Council. I hope that you will wish to endorse without reservations the first two measures, the Federal Advisory Council on the Arts and the National Cultural Development Act, and that you will also approve the U.S. Arts Foundation bill on condition that the suggested amendment or the equivalent of it, however reworded, is accepted by the sponsors of this legislation. All three methods of aiding the arts supplement each other, as I have tried to make clear. They deserve strong support from organizations and individuals desiring to forward the arts in the United States. Thank you for your attention. I shall be glad to answer any questions that I can. Mr. COB. It seems to me in reading H.R. 4172 and H.R. 4174 and just from the talk this morning I feel that working through HEW is a perfectly sensible way of doing it. I would be against trying to get a Cabinet position for it at this time. I would rather aim at the more realizable at this time, rather than the ideal. Mr. THOMPSON. I think, if this is enacted and successful, that it would follow that perhaps the scope of its work would require a dif- ferent administrative setup and that therefore some, time later there might follow a Cabinet-level appointment. People have been talking about this for a number of years. First we have to get the Government, somehow or other, in the busi- ness of not only recognizing the arts here and there but all of them at once which it would do with a Federal Advisory Council. Thank you very much. Mr. COB. Thank you. Mr. THOMPSON. Is Dr. Ralph Beelke here, executive secretary, the National Art Education Association? Thank you for coming, sir. PAGENO="0125" AID TO FINE ARTS 117 STATEMENT OP DR. RALPH G. BEELKE, EXECUTIVE SECRETARY, THE NATIONAL ART EDUCATION ASSOCIATION Dr. BEELKE. I have a prepared statement which, in the interest of time, I will summarize briefly to the effect that my statement does have a copy of the resolution recently passed by our association in favor of IELR. 4172 and H.R. 4174. Briefly, our association has supported arts legislation in past hear- ings and many of our members have written letters in support of this, which testifies to our interest in it. Our specific interest, of course, is the area of the visual arts, and we would be anxious to point out here this morning, at least so far being the only representatives of the visual arts, that in a sense the United States is the art capital of the world and that much of the leadership at least in the area of painting and some of the other visual arts which is evidenced in this country is due to the encouragement which was received by many of our out- standing artists during the days of the WPA. While admittedly the WPA was a program designed to solve human problems rather than cultural ones, we are today reaping the rewards of this encouragement and nurture on the part of the Federal Govern- ment in the arts. We would also point out the President Kennedy recently referred to our society as an open one in the relationship to publicity concern- ing our recent space efforts. History shows that the arts flourish in an open society and we believe that the stipulations given in these bills would maintain the open context under which inventiveness and creativity can flourish. So that again, to briefly repeat, we are heartily in favor of both of these measures and we recognize that the arts are important and this legislation recognizes the arts as an important part of our national and individual life. The legislation also gives concrete evidence of support and encour- agement and is structured in such a way that the characteristics of our open society are maintained. Mr. ThoMpsoN. We thank you very much and might note that for the first time in a number of years when this type legislation has been under discussion we have not had notice of any opposition to it, par- ticularly from a well-known sculptor who has appeared a number of times, Mr. Wheeler Williams. I really almost miss him. He did the Taft Memorial and that may be his valedictory-I do not know- here in Washington. Dr. BEELKE. I mentioned the WPA thing, I think, largely because Mr. Williams' previous testimony in this committee always referred to this in the negative rather than in a positive way. Mr. THOMPSON. Yes, Mr. Williams did not approve of anything that was done in the WPA. Thank you very much for coming, Doctor. We are most grateful to you. Dr. BEELKE. We appreciate the opportunity to be here. PAGENO="0126" 118 AID TO PINE ARTS (The complete statement referred to follows:) STATEMENT OF RALPH G. BEELKE, EXECUTIVE SECRETARY, THE NATIONAL ART EDUCATION AssocIATIoN Mr. Chairman and members of the committee, my name is Ralph G. Beelke and I am executive secretary of the National Art Education Association, a department of the National Education Association. The National Art Educa- tion Association is a professional association of teachers of art from the elemen- tary school through the college and university levels and has approximately 5,000 members. I am pleased to represent the association at these hearings and to inform the committee of the association's support for H.R. 4172 and H.R. 4174. At the recent biennial conference of the National Art Education Association held during April, a resolution supporting these bills was adopted upon the recommendation of the association's legislative committee. The resolution reads as follows: "Whereas it is a responsibility of the National Art Education Association to be cognizant of and actively support Federal legislation pertaining to the arts: Be it "Resolved, That the National Art Education Association strongly urge that the present Congress take favorable action on the following bills currently submitted or pending: H.R. 4172, a bill to provide for the establishment of a Federal Advisory Council on the Arts; H.R. 4174, a bill to establish a program of grants to States for the development of programs and projects in the arts." The resolution also lists companion bills introduced into the Senate. The association has suported arts legislation in previous sessions of the Con- gress. The record of other hearings will testify to our interest and to the interest of many individual members of our association who have often written in suport of efforts designed to provide Federal recognition of the arts. I can only reaffirm here the belief of our association in the importance of the arts in our national life and in the lives of individuals, and of our hope that the 87th Congress will not only provide Federal recognition of the arts but will provide concrete means for the encouragement and support of art activities. The specific interest of our association is the visual arts. The work of Ameri- can artists, painters, sculptors, architects, and graphic artists, is outstanding in today's visual activity throughout the world. There is general agreement that the visual arts of the United States are vigorous and that our country is the art capital of the world. There is also general agreement that the quality of the visual production of many American artists is due to the support that most received from the Federal Government in the years of the WPA. This Federal support was, admittedly, support given to solve a human problem rather than a cultural one. The results culturally, however, are being realized today in the quality of American visual production and in the esteem in which this production is held in the free world and, to the extent possible, by the artists in countries not free as viewed in our terms. President Kennedy referred to our society as an open one in relation to the publicity of our recent space effort. History shows that, the arts flourish in an open society and that it is within an open context that new ideas and new expres- sions are born. There is no doubt of the creative inventiveness of American artists in the fields of the dance, painting, architecture, music, and the theater, and world leadership and vigor will continue to be ours in these arts if we nurture and support them. The bills now being considered do this very thing and do it by maintaining the open system of a free society. In closing I would repeat-the National Art Education Association strongly endorses H.R. 4172 and H.R. 4174. We feel the Federal Government should (1) recognize the arts as an important part of our national life; (2) give concrete evidence of support and encouragement to arts activities; and (3) structure this recognition and support in such a way that the characteristics of our open society are maintained. Mr. THo~1PsoN. We had scheduled 2 days of hearings. We have done remarkably well. The full committee is to meet tomorrow. Our next witness is Miss Marie A. Hurley, the national legislation chairman of the National Federation of Music Clubs. Thank you for coming. PAGENO="0127" AID TO FINE ARTS 119 STATEMENT OF MISS MARIE A. HURLEY, NATIONAL LEGISLATION CHAIRMAN, NATIONAL FEDERATION OF MUSIC CLUBS Miss HURLEY. It is a privilege to be here, sir. Mr. Chairman, as national legislation chairman of the Federation of Music Clubs, I am privileged to represent the world's largest single musical organization, with a membership of more than 600,000 with 5,500 clubs in 50 States, whose purpose is to raise the musical standards of our Nation, to aid and encourage musical education, and to promote the composer, the young artist, and the musical youth of America. Today I appear in behalf of the National Federation of Music Clubs in full support of the two worthy legislative proposals under consid- eration here; one, which would provide for the establishment of a Federal Advisory Council on the Arts within the Department of Health, Education, and Welfare, consisting of 21 members appointed by the President and the other, designated the National Cultural Development Act, which would establish a program of grants to States for the development of programs and projects in the arts, under which an annual allotment would be authorized of not more than $100,000 to any State having a suitable art agency and propos- ing specific projects in any field of art for which the State will provide not less than 50 percent of the required funds, such assistance to be limited to nonprofit undertakings, with determination by the Secre- tary of Health, Education, and Welfare as to whether projects pro- posed carry out the intent of the act. Since 1955 when former President Eisenhower in his state of the Union message stated: I shall recommend the establishment of a Federal Advisory Commission on the Arts within the Department of Health, Education, and Welfare to advise the Federal Government on ways to encourage artistic and cultural endeavor and appreciation. The National Federation of Music Clubs has lent consistent support to bills introduced in the Congress for this specific purpose. The National Federation of Music Clubs is interested in a Federal Ad- visory Council on the Arts as a part of our Government; it welcomes the prestige nationally and internationally that would accrue to American music and the arts by the establishment of such a Council; it recognizes the desirability of American national artistic sponsor- ship, and the maintenance of the musical and artistic activities of our Nation on a sound and permanent basis which it believes such a Coim- cii would insure. During the 1960 presidential campaign the National Federation of Music Clubs and the American Federation of Musicians requested a cultural plank in both political platforms. Such a plank was in- cluded. On page 49 of the Democratic platform this pertinent state- ment appeared: We propose a Federal advisory agency to assist in the evaluation, develop- ment, and expansion of cultural resources of the United States. We shall sup- port legislation needed to provide incentives for those endowed with extraor- dinary talent as a worthy supplement to existing scholarship programs. In addition to this, both presidential candidates last fall agreed on the need for the establishment of a Federal Advisory Council on the Arts. PAGENO="0128" 120 MD TO FINE ARTS On August 25, 1960, I received a letter from General Wilton B. Persons, Special Assistant to the then President Eisenhower which stated in part: The President has asked me to reply to your enthusiastic letter supporting legislation to establish a Federal Advisory Council on the Arts. As you know, the President favors this type of legislation, and the administration has re- peatedly asserted itself for enactment. It is, of course, our hope that this Congress will act favorably on the desired legislation, and the congressional leaders know of this attitude. With such widespread prominent recognition of the basic need for a national arts policy for America, immediate enactment of this legis- lative proposal is inevitable. The National Federation of Music Clubs has endorsed the National Cultural Development Act because the financial assistance provided to States under the act is limited to nonprofit undertakings; determi- nation is made by the Secretary of Health, Education, and Welfare as to compliance with the intent of the act; the financial assistance is a supplement to the local effort and not a replacement; also, left to the States is the initiative to support whatever arts projects and pro- grams they consider appropriate. The federation believes that music and the arts need aid just as much as business, education, or the sciences do, and that the Government should lend encouragement and prestige to the arts. Suffice it to say, making the arts a responsibility of the Government is making the arts a responsibility of the people, for American Government is "of the people, by the people, for the people." Therefore, we urge enactment into law without delay of the Na- tional Cultural Development Act which would lend encouragement through Federal assistance without Federal control to arts programs and projects. Mr. Chairman, our national. president, Mrs. C. Arthur Bullock of Canton, Pa., who had wanted very much to appear here in person today to speak in support of these bills, was unable to do so. How- ever, she sent me a telegram yesterday, May 14, which I respectfully request to be included in the record, and which states as follows: Regret previous commitments prevent testifying Monday in Federation's full support of bills for establishment of Federal Advisory Council on Arts and for grants to State to assist arts programs at National, State, and local levels, but National Federation of Music Clubs reconfirms its consistent support of these bills and urges their immediate enactment into law. We heartily com- mend and appreciate Senator Clark, also Representatives Thompson and Kearris, for sponsorship of bills. DOROTHY DANN BULLOCK, President, National Federation of Music Clubs. Thank you, Mr. Chairman, for this opportunity to appear and express the views of the organization I represent. Mr. Tno~IrsoN. Thank you. Miss HtmLEY. Thank you. Mr. THo~IPsoN. Our next witness is Mr. Harold F. Berg, national counsel, American Guild of Variety Artists (AGVA). Mr. Berg, we thankyou for coming. PAGENO="0129" AID TO FINE ARTS i21 STATEMENT OP HAROLD P. BERGS NATIONAL COUNSEL, AMERICAN GUILD OP VARIETY ARTISTS (AGVA) Mr. BERG. Gentlemen, I am the national legal counsel to the Amer- ican Guild of Variety Artists, better known as AGVA, which is affiliated with the A.F. of L.-CIO. The president of AGVA is Mr. Joey Adams and the national administrative secretary is Mr. Jack Bright. Both of these men have been cited in the Congressional Record for their great accomplishments. Both have also been com- mended on numerous occasions by Federal, State, and municipal governments and agencies and by public and private organizations for the great and humane things that they have done for the public as well as the entertainment field. I am honored to be privileged to appear before you today to express their opinions as well as my own. AGVA has approximately 20,000 members, among whom are such international stars as Nat King Cole, Jimmy Durante, Bob Hope (our former president), Harry Belafonte, Sophie Tucker, Red Skelton, Georgie Jessel, and hundreds of other great stars who are known all over the world and who have carried the message of democracy to the four corners of the earth. AGVA is also the representative of thousands of lesser known but equally talented performing artists in the variety field, which includes dancers, comedians, singers, acrobats, magicians, and all others ap- pearing in special acts, vaudeville, presentation houses, clubs, hotels, music halls (such as Radio City Music Hall in New York City), circuses, fairs, arenas, ice shows, et cetera. It is primarily the AGVA performer that contributes his talent to charity in all of the large fundraising activities that take place throughout the country, regardless of the medium of presentation used, raising millions of dollars for less fortunate people. It is primarily the AGVA performer that rushes to disaster areas wherever they may be, to contribute his time and talent to aid the suffering. It is primarily the AGVA performer that travels to far away places to bring entertainment, recreation, and a touch of home to our men in military service. AGVA carries on its activities in all 50 States and Canada and has reciprocal agreements with organizations in other countries. It is now negotiating additional similar agreements covering countries that are not affiliated with or controlled by the Soviet Union. Mr. Adams, Mr. Bright, and I, in behalf of AGVA desire to record our approval of proposed bills H.R. 4172 and H.RL 4174, both intro- duced in the House of Representatives by Hon. Frank Thompson, Jr., of New Jersey. In expressing our wholehearted approval however, we respectfully request that they be amended to specifically include variety enter- tainment. H.R. 4172 should be amended in section 2(a) at line 22 by adding the words "and variety entertainment" so as to more completely provide an appropriate balance of representation among the major art fields, which is the expressed intention of the section. 70259-61---9 PAGENO="0130" 122 AID TO FINE ARTS H.R. 4174 should be amended in section 2(1) at line 3 by adding the words "and variety entertainment" so as to provide for a more complete inventory of existing programs in the major art fields and furnish additional adequate programs, facilities, and services in the arts to people in the several States, which are the expressed intentions of the section. The variety artist is the greatest of all performers. Only the variety artist has the general talent and ability to step into almost any other entertaimuent category. Most of the great television and motion picture stars are variety artists. They come from the variety field of entertainment and return to that field after making their television and motion picture appearances. Failure to specifically include variety entertainment in these pro- posed bills would seriously detract from their laudable purposes and would deprive the people of the benefits of the greatest form of enter- tainment art, which the greatest number of people everywhere would appreciate, welcome, and understand. Mr. THOMPSON. Thank you very much for coming. We appreciate it. Mr. BERG. Thank you. Mr. THOMPSON. Without objection, the telegram of Dr. Howard Hanson will be included. (The telegram referred to follows:) ROCIIESTER, N.Y., May 14, 1961. Hon. FRANK THoMPsoN, Congressin an from New Jersey, House Office Building, Washington, D.C.: Am very much impressed with your two bills H.R. 4172 and H.R. 4174. The first, establishing a Federal Advisory Council on the Arts should be most help- ful and is long, overdue in a country which is looked to for leadership by the free world. H.R. 4174 seems an excellent approach in assisting the individual States to develop programs in the arts which are suitable to their own indi- vidual needs. This should provide an admirable partnership in the arts between the Federal Government and the individual States. Finally may I say how delighted I am to see an arts bill which includes an appropriation of money. Shall be happy to speak of these bills before the National Music Council at our meeting in New York this week if you wish me to do* so. With many thanks for your unfailing interest and support of the arts. Yours sincerely, HOWARD HANsoN, Director, Eastman School of Mvsic, President, National Music Council. Mr. THOMPSON. I would like at the conclusion of today's record unanimous consent to include from the CongTessional Record studies made by the Library of Congress of present programs carried on by States for development of the arts, and of support of the arts by 50 cities. * (The documents referred to follow:) {From the Congressional RecordS Feb. 2, 1961] PROGRAM OF GRANTS TO STATES FOR DEVELOPMENT OF THE ARTS Mr. CLARK. Mr. President, on behalf of myself, the Senator from Minne- sota [Mr. Humphrey], and the Senator from Rhode Island [Mr. Pell], I intro- duce, for appropriate reference, a bill to establish a program of grants to States for the development of programs and projects in the arts, and for other pur- poses. I ask unanimous consent that a press release prepared by me relating to the bill, together with a memorandum prepared by the Library of Congress on the same subject, be printed in the Record. PAGENO="0131" AID TO FINE ARTS 123 The PRESIDENT pro tempore. The bill will be received and appropriately re- ferred; and, without objection, the press release and memorandum will be printed in the Record. The bill (S. 785) to establish a program of grants to States for the develop- ment of programs and projects in the arts, and for other purposes, introduced by Mr. Clark (for himself and other Senators), was received, read twice by. its title, and referred to the Committee on Labor and Public Welfare. (The press release and memorandum presented by Mr. Clark are as follows:) Senator Joseph S. Clark, Democrat, of Pennsylvania, today introduced the National Cultural Development Act, which would help States develop and en- courage artistic programs and projects. The bill was cosponsored by Senators Humphrey, Democrat, of Minnesota, and Pell, Democrat, of Rhode Island. "One of the bright spots on the New Frontier," Senator Clark said, "is the emphasis that President Kennedy is giving to excellence in every field. En- couragement and appreciation of culture and the arts will clearly be one of the hallmarks of the new administration. "In this century, the United States has ceased to be a backward child in the arts and has become a leader. Our artists are in the first rank of creative and performing ability. Not only do we not need to apologize for their quality; they have given impetus to many fresh directions in which the arts all over the world are moving today. But though we may boast of topflight per- formers and creative artists, we are still confronted by the fact that cultural projects constantly run into economic difficulties which threaten their lives or make it impossible for them to reach fruition. Gifted students often do not: have local artistic horizons which are sufficiently rich in opportunity for advanced training and performance." Senator Clark pointed out that his bill would establish a program of grants to States for the development of programs and projects in the arts. A maxi- mum of $100,000 would go to each State to help it inventory existing programs, survey the need for additional programs, and develop new and existing nQnprofit activities in the arts. Funds could also be used to build public and other non- profit centers for the performance, demonstration, teaching, or exhibition of the arts; to protect and preserve sites and buildings of national or local his- torical, architectural, or artistic significance, and to help States develop projects designed to supply leadership, training, and experience in the arts. Senator Clark continued: "The ovations that have been given to traveling American artists like Marion Anderson, the `Porgy and Bess' and `My Fair Lady' companies, Van Cliburn, the Philadelphia Orchestra, Louis Armstrong, and the New York City Center Ballet indicate the potentially enormous acceptance of American culture abroad. American scientists, for all the brilliance of their achievements, cannot hope to arouse these eager and enthusiastic responses. Yet compare what we spend nationally on scientific programs with what we spend nationally on the arts. Compare our concern with seeing to it that scien- tists are trained with the haphazard way in which we force artists to scramble for their training, and indeed for their careers. Compare the support we give to ongoing scientific projects to the always shaky future of artistic projects. "We need a coherent and continuing national outlook and policy toward the arts. The bill I introduce today would establish such a policy and outlook while leaving to the States the initiative as to what specific projects and programs to support. "That music is the universal language we all know. The other arts as wellS have universal messages to convey. At a time when we are trying to reach the hearts and minds of people everywhere, there is no more direct route than the arts, no vocabulary which is more eloquent, no vision which can be more readily shared." STATE SUPPORT OF ARTISTIC AND CULTURAL ACTIVLTIES (By Anne F. McGrath and Helen A. Miller, Education and Public Welfare Division, Library of Congress) . A. EXPLANATION OF SUMMARY . This State-by State summary is a compilation of information selected from the 47 replies received from. letters sent .by the Legislative Reference Service to the 50 State Governors in February at the request of several Members of Congress. PAGENO="0132" 124 AID TO FI~ ARTS The following questions concerning State support of the "fine arts and cultural activities" were included in these letters to the Governors: 1. What kinds of State-created or State-sponsored agencies exist in your State whose major interest is in cultural activities? 2. Do any other groups or organizations (for example, art councils, comm1~- sions, private groups) receive State support for the promotion of cultural ac- tivities? 3. Please include any additional information concerning: (a) the artistic and cultural activities, organizations, institutions, buildings, etc., which receive State funds; (b) the specific amount of State funds expended for each cultural activity supported; (C) the sources of such funds in each case (i.e., general revenues, taxes ear- marked for such purposes, etc.); (d) how such funds are allocated to the various State-supported cultural pro- grams. This survey represents a sampling of how the States in general have expressed their official interest in cultural activities as reflected primarily by the amount of financial assistance made available for such programs. Therefore, it is not intended as a complete report on all the ways in which any individual State encourages cultural endeavors. 1. Form of summary Due to the wide variety of activities supported, the time periods covered, and the varying amount of detail with which the States answered the survey letters, the information selected from the replies is presented here without further elab- oration or interpretation. Each State letter was considered individually. How- ever, because of the variations in the facts reported, it was often necessary to select activities to include on a discretionary basis only-depending to some ex- tent on the amount of information made available. More details concerning the selection of activities are discussed in the next section (content of summary). The State information has been arranged below (pt. B) in alphabetical order- rather than in chart or table form-~--in order not to invite unwarranted com- parisons of State activities. Because of the numerous ways of answering and differences in the extent of the information reported, it is clear that comparisons may not be made on the basis of the following facts alone. 2. Coi~tent of summary Concerning the use of the phrase "fine arts and cultural activities" in the survey, one State requested a definition of this term. The following explanation was presented in the reply to this request: "We wish to explain that a broad, general phrase such as this has been pur- posely selected to be used in our letter. It was our hope that, by not further limiting the definition of this phrase, we would thereby encourage its broadest possible interpretation by the State and thus receive the most comprehensive kind of information available. "For example, in addition to such obviously artistic activities as art museums and symphony orchestras, some of the States have chosen to report such forms of State support as that to: State libraries and library associations; historical agencies, museums, libraries and publications; museums and academies of science and industry; certain State-supported arts and crafts programs and exhibits; memorials and centennial commissions; arts festivals at State universities; horticultural societies; garden tours; and even State aid to county fairs. Other States have confined their answers to those agencies receiving State support whose major interest is in cultural activities and have interpreted the term `fine arts' according to its traditional meaning. (that is, painting, drawing,. architec- ture, sculpture, poetry, music, dancing, dramatic art) ." The intention in not further defining this Phrase was to encourage the most complete report possible and yet to allow each State the leeway to select and emphasize programs considered most indicative of its own particular interest in support for cultural endeavors. To be more specific, for the purposes of this report, libraries and related agen- cies have been considered primarily as educational activities thus distinguishing them from "cultural institutions." However, there are exceptions to this general rule-for example, in cases where a State report includes specific mention of the PAGENO="0133" AID TO FINE ARTS 125 fine arts programs of its library or where the State library budget includes, let us say, a historical museum. In line with the nature of the congressional re- quest, whenever possible in such cases, an attempt has been made to present a breakdown of the funds involved. However, such a breakdown is not always reported by the respective States. Also, the cultural and artistic programs of State institutions of higher educa- tiQn are omitted even when a State letter specifically refers, for example, to a university's contemporary art festival. It is presumed that State-supported in- stitutions of higher education in all the States sponsor activities of an artistic or cultural nature to some extent, many. of which are not distinguishable from the educational program. Moreover, detailed information relating to this sub- ject was not reported consistently. Among other categories which were mentioned in certain State replies, but which this survey does not include, are: Civil War centennial commissions; cer- tain other historical commissions or boards designated as temporary; memorial funds; horticultural activities; wildlife reservations; and garden tours. Other possible limitations in connection with the following excerpts and other selected information are: 1. Of 50 letters and, in some cases, followup letters sent to the Governors between February and May 1960, 46 final replies have been received. One State has sent a partial reply. No information is included about the other three States, therefore. * 2. Many of the survey letters were referred by the Governors to offices within the respective State executive departments-e.g., the department of finance or the director of the budget. This fact might present a problem in the. case of answers to the question (No. 1) which relates to State-created or State-sponsored agencies whose major interest is in cultural activities. It is conceivable, for example, that a State which actually has statutory provision, for a State art agency but which agency perhaps received no appropriation for a recent fiscal year or biennium might not be mentioned in a letter from the State's department of finance. For this reason, the source and date of each State's information appears at the end of the respective State's excerpts. (Incidentally the following States reported the existence of a State art council, commission, or similar agency in their replies: Alabama, Florida, Georgia, Louisiana, Maine, Mássa- chusetts, Minnesota, Montana, New Hmpshire, New Mexico, New York, North Carolina, Utah, and Wisconsin. Brief descriptions of these agencies appear in the excerpts below.) B. STATE-BY-STATE SUMMARY Alabama Amount of State funds appropriated for each fiscal year during the biennium beginning October 1, 1959, and ending September 30, 1961: Department of archives and history $91, 040 Cahaba Historical Commission 2, 500 Gorgas Memorial Board 5,000 Hall of fame board 500 Richard Pearson Hobson Memorial Board 5,000 La Grange Historical Commission 500 Alabama Agricultural and Industrial Exhibit Commission 25,000 First White House of the Confederacy 40,000 Source of appropriations: Practically all of these appropriations were made from general State revenues. Other agencies mentioned without additional information: Alabama Art Com- mission, Stonewall J~ackson Memorial Fund, Fort Morgan Historical Commis- sion, Division of State Parks, Monuments, and Historical Sites, State Depart- ment of Conservation. Other information included: A few private groups or organizations sometimes receive State support for the promotion of certain cultural activities. For example, an annual appropriation is often made for the purpose of providing Spanish-American War veterans an encampment. Also, sometimes appropria- tions are made for local chambers of commerce. Source: Charles Cooper, Director, Legislative Reference Service, Feb. 18, 1960. PAGENO="0134" 126 AID TO FINE ARTS Alasku Amount of State funds appropriated for last year: Alaska State Historical Museum and Library, $24,950. Source of appropriations: General revenue fund. Method of allocation: Allocated by legislative action based on Governor's budget as modified by house and senate finance committees. Source: Paul Solka, Jr., special assistant, office of the Governor, Feb. 25, 1960. ArizOsu~ Amount of State funds appropriated in 1959 (see "Other Information," below): Arizona Pioneers' Historical Society (Tuscon) $48, 535 Sharlot Hall Museum (Prescott) 13, 300 Source of appropriation and method of allocation: Legislative appropriation from the general fund of the State. Other State-supported artistic or cultural activities: The State Museum is located at the University of Arizona and is under the direction of the board of regents of the State universities and State college. Funds for its operation are included in the university appropriation. Each year a very fine art exhibit is held at the State fair. This includes not only paintings, but also Indian art-basketry, jewelry, painting, weaving, and pottery making. This is under the jurisdiction of the State fair commission, with funds set aside'by the commission from its appropriation. Other information (re: Arizona Pioneers' Historical Society and Sharlot Hall Museum): The State provided matching funds for the building of the Arizona Pioneers' Historical Society quarters and granted a 99-year lease for the old Governor's mansion at the Sharlot Hall Museum. The funds appropriated by the State are used for upkeep and personnel. Other funds are provided by mem- berships, organizations, and local governments. Source: Mrs. Alice B. Good, director, Department of Library and Archives, Feb. 24, 1960 Arkaiisaa So far as we can determine, the State of Arkansas does iiot make direct grants to artistic and cultural activities in this State. The State of Arkansas makes direct appropriations for the maintenance of the territorial capitol restoration and the old statehouse restoration. The territorial capitol restoration is corn- parable, on a limited scale, to the Williamsburg restoration. Source: Marcus Haibrook, director, State of Arkansas Council, May 26, 1960. Amount of State funds for last year Annual arts and crafts exhibit of the ~California.State Fair and Exposition, $27,900. Source of funds:. Funds earmarked for fair purposes.. Other information: The State also maintains as part of its beach and parks program 19 historical monuments for the purpose of portraying the history, customs, and physical character of early California; the restored gold rush town of Columbia; Sutter's Fort and Indian museums; selected historic buildings in the city of Monterey; and the Hearst castle at San Simeon. Source: Edmund G~ Brown, Governor, June 25, 1960. ConnectiCut Amount of State funds appropriated: . - State library: Operation of State historical museum State department of education: Connecticut HistoricalSociety (a private.corporation with own building) State parks and forest commission:. 1959-60 1960-61 $5, 400 1,000 14,800 (1) (1) 300 $5, 600 1,000 11,400 (1) (1) 300 Trustees, Henry Whitfield House Harkness Memorial State Park (gift to State): (1) 900 bird paintings by Rex Brasher (2) Gillette Castle Groton Monument (Fort Griswold State Park) I None specified. PAGENO="0135" AID TO FINE ARTS 127. Highway department: Preservation of Goocispeed Opera House,1 $10,000 (1959-61). Sources of State appropriations: General fund revenues,: except in case of highway department.1 Method of allocation: Regular State allotment programs after appropriation by State legislature. Other State-supported cultural activities: Connecticut Historical Commission, Goodspeed Opera House Foundation. Other information: The Connecticut State Library Building contains memorial hail with its collections, paintings, artifacts, and memorabilia of the history of Connecticut. A history of Connecticut is also being written under the direction of this agency. Under the State parks and forest commission, the Henry Whitfield House, furnished as a State historical museum was established as a State agency in. 1899. Groton Monument is a monument to a battle in the Revolutionary War similar in style to the Washington Monument. The highway department has provided funds for the painting of Goodspeed Opera House. The entire restoration is the project of a private foundation comprised principally of residents of Connecticut and New York. The State provided the land for $1, and included parking areas, and additional area. A drive is currently underway for public contributions to restore the former glit- tering and famous opera house (circa 1876) to its former grandeur as a unique center for contemporary and cultural activities, including possible operation as a festival theater. Source: Henry J. Rlgney, budget examiner, department of finance and control, budget diyision, Mar. 14, 1960. Delaware Amount of State funds appropriated: State museum $26, 950 John Dickinson Mansion 15,350 Lewes Memorial Commission 8, 000 Delaware Day Commission 100 New Castle Historical Building Commission 8,450 Source: Mrs. Lillian L Martin, chief accountant, budget commission, May 13, 1960. Florida (Defines "cultural" as referring to the "traditional fine arts" and includes only "agencies whose major interestis in cultural activities.") Florida supports three State ftgencies whose chief interest is in cultural. activities: 1. John and Mabel Ringling Museum of . Art at Sarasota includes the art museum, the Ringling residence and furnishings, the circus museum, the Asolo Theater, and extensive grounds. In addition to the collection of paintings, the agency sponsors an artist series, a lecture series, and a motion-picture art series. Total expenditure for this activity in 1958-59 fiscal year was $303,303. These funds came from three sources: (1) a. State appropriation of $95,374 from the general revenue fund; (2) income of $188,162 from museum admissions and ac-. tivities which was deposited in and expended from the incidental fund; and (3) $19,767 from the interest of trust fund which consists of interest earned on a trust fund established by the Ringling will for the preservation and enlargement of the collection. General revenue and incidental funds for the Ringling mu- seum are requested, budgeted, and appropriated as is the case with any other State activity. 2. The Florida State Museum is an adjunct of the University of Florida and is supported by regular university funds which come from general revenue ap- propriation and university incidental fund collections. Total expenditures for this activity in 1958-59 were $104,000. Appropriations are made on the basis of the University of Florida request. Actually, a lump sum appropriation within the categories of salaries, .expenses, and operating capital outlay is made to the University of Florida for all educational and general operations and the uni- versity allocates the amount which goes to the Florida State Museum. `From special fund derived from gasoline tax, highway tolls. PAGENO="0136" 128 MD TO FINE ARTS 3. The Stephen Foster Memorial Commission operates the Stephen Foster Me- morial at White Springs. Aside from the physical park facilities of the me- morial and the museum * * * the commission is concerned with the preserva tion and presentation of the folk arts in the fields of music and dance of the period with which Stephen Foster is associated. Total expenditures of the com- mission in fiscal year 1958-59 were $150,806. Of this amount, $70,087 was ap- propriated from the general revenue fund, $34,719 came from the trust fund income derived from parking fees and concessIon sales at the memorial, and a $500 scholarship from private contributions. * * * The Stephen Foster Memorial Commission requests and justifies its appropriation before the State budget com- mission and the State legislature. Other State-supported activity: The Florida Arts Commission was established by the 1959 Legislature with an appropriation of $5,000 for the 1959-61 biennium (ch. 59-275, Florida Stat- utes). As of February 1960 the commission had not been activated. Commis- sion to consist of 9 members appointed by the Governor upon recommendations Of board of commissioners of State institutions. "The Governor shall appoint as members ~. * * citizens and residents of Florida representative of various pro- fessional organizations and governmental institutions concerned with theorderly development of the artistic and cultural resources of Florida in the fine arts area and qualified to advise and assist in capturing and symbolizing the spirit and great natural beauty of Florida in permanent structures of the State." Members to serve without compensation but to be reimbursed for expenses. Powers and duties of commission to be concerned with: decoration and beau- tLfication of public buildings, assurance of a uniformity of artwork within State buildings; advice on the acquisition by gift or purchase of fine art works and their use and display; and fostering "the development of a receptive climate for the fine arts" in Florida (ch. 59-275, House bill No. 347, June 12, 1959). Other information: The State does not contribute to the suppOrt of any private art groups. . Source Harry G Smith budget director State budget commission Feb 23 1960 Georgia Amount of State funds appropriated Department of Archives and History $100, 000 State Museum of Science and Industry 25,000 The Georgia Historical Commission_ 100,000 Method of allocation: All State funds appropriated by the general assembly and none specifically allocated from certain taxes earmarked for special purposes. Other information: A Georgia Art Commission acts in advisory capacity Only, and no State funds are appropriated. Source: Ben W. Fortson, Jr., secretary of StateS department of State, Feb. 25, 1960. Hawaii Amount of State funds appropriated, source of funds, and description of activities supported: Hawaii historic sites: One function of the State department of land and natural resources is to locate, identify, and preserve sites of historic significance, such as heisus (ancient Hawaiian burial grounds), and other historic and pre- historic structures. The public may visit these historic sites without charge. During the fiscal year 1959-60, the sum of $1,680 was appropriated out of the general revenues (general fund) of the State for this program. Captain Cook Memorial: During the fiscal year 1959-60, the State public archives has expended $200 for the collection and purchase of historical or other materials of Captain Cook, the discoverer of the. Hawaiian Islands. Moneys. expended were obtained from a special fund created through the sale of com- memorative coins of Captain Cook. . . . . . lolani Palace: For the fiscal year 1959-60, the legislature has appropriated, to the department of accounting and general services, out of the general revenues of the State the sum of $75,382 for the maintenance and operation of lolani Palace, the former capitol of the Hawaiian monarchy. The palace (State owned) is maintained for historical and cultural purposes and js open to the public without charge. PAGENO="0137" AID ~TO FINE ARTS 129 Hulihee Palace: The legislature has appropriated, to the department of ac- counting and general services, out of the general revenues of the State the sum of $7,668 for the purposes of operating and maintaining the Hulihee Palace (State owned) for the fiscal year 1959-60. The palace serves as a museum for Hawaiians. Hawaiian language and arts: A sum of $25,000 was appropriated by the legis- lature out of the general fund of the State for the 1959-61 biennium for the preservation and study of the Hawaiian language and arts. The University of Hawaii is designated as the expending agency. The sum of $15,000 was allocated for the fiscal year 1959-60. Hawaii Visitors Bureau: For the fiscal year 1959-60, the legislature has appropriated to the Hawaiian Visitors Bureau, a private nonprofit corporation which is primarily concerned with the development and promotion of the tourist industry, the sum of $750,000 from the general fund of the State. (The visitors bureau is also supported by private funds.) The visitors bureau has allocated the following sums to organizations that promote cultural shows and events: (a) Aloha Week Commission ($5,000) : The Aloha Week Commission promotes the Aloha Week festival, which presents the old Hawaiian customs through parades, events, and displays. (b) Cherry Blossom Festival ($1,000): Sponsored by the Japanese junior chamber of commerce to display to the public the customs of the Japanese people through cultural shows and exhibits. (c) Narcissus Festival ($1,000): This festival by the Chinese junior chamber of commerce to display the Chinese customs through cultural shows and exhibits. Other information: The definition of "cultural activities" on which Hawaii based the selection of the above information for inclusion in its letter is "all activities which promote and otherwise make available on a communitywide basis knowledge and interest in the fine arts, humanities, the broad aspects of science, and the distinctive attainments; beliefs, traditions, customs, and so forth, which constitute the background of the various racial, religious, and social groups, and which are not presented as part of the curricula of educational institutions." State support is almost entirely restricted to the preservation and understand- ing of the rapidly becoming extinct customs, traditions, and so forth, of the Hawaiian people. With the exception of State public libraries, there are no agencies whose major interest is in cultural activities which are created or spon- sored either by the State or the counties, such as museums and art academies. Source: Department of budget and review, May 25, 1960. Idaho The State of Idaho does not support the promotion of éultural activities except insofar as it may be a support of one of our institutions of higher education. Source: Robert B. Hodge, assistant to the Governor, Feb. 16, 1960. 11121fl,Oi$ Amount of State funds appropriated: Type of activity State expend- iture (fiscal year 1959) Source of revenue . Method of allocation . Historical library State museum Publicizing Illinois natural and historic attractlons. State memorials: Operation Capitol State aid to county lairs State aid to city and county fairs, and expositions. $138, 000 250,000 33,000 341,000 180,000 1 410 511 1,955,087 General revenue ~do do do do Tax on parimutuel wagers borseracing. do Legislative appropriation. Do. Do. Do. Do. Do .~ Do.. . : Source: R. D. Frisch, supervisor of research, budget divl~ion, department of finance, Apr. 4, 1960. PAGENO="0138" 130 AID TO FINE ARTS Indiana Amount of State funds appropriated: cr18 World War Memorial (to World War I veterans) ` $106, 960 Soldiers' and Sailors' Monument (to Civil and Spanish-American vet- erans) 63, 270 14 memorials in the Department of Conservation' (such as George Rog- ers Clark Memorial) 200, 000 New Harmony Commission 50, 000 Historical Bureau 79, 812 Source of funds: General Fund of the State of Indiana. Source: Philip L. Conklin, director of the' budget, Mar. 8, 1960. Iowa Amount of State funds appropriated annually State Department of History and Archives `~ $92, 500 Herbert Hoover Birthplace Society (private organization) 10,685 `Historical Society (private organization) 94, 000 Source: It. C. McClelland, research associate, Iowa Development Commission, Feb. 24, 1960. `Kansas Amount of State funds appropriated: ` Fis1c~1jear, Kansas Historical Society, general revenue $352, 130 John Brown Memorial State Park, general revenue 5, 810 Kansas Frontier Historical Park, general revenue 9, 636 Marais des Cygnes Massacre Memorial Park, general revenue , 500 Pawnee Rock Historical Park, general revenue 3.911 Washington County Historical Pony Express Station, general revenue.. 3, 291 `Other cultural activities supported: State funds were appropriated for the purchase of land for the use of the Eisen- hower Presidential `Library Commission ($50,000 in 1955) and for `the Agricul- tural Hall of Fame ($9.5;000 in 1960). (There is also a museum of art arid a museum of natural history at the University of Kansas. However, as in the case with many other State universities, the amounts expended for, cultural activities are not classified separately and are, therefore, impossible to deter- mine.) An amount of $200,000 is budgeted for a series of pageants depicting the his- `tory of Kansas. The amounts shown above for the Kansas Historical Society and the various historical parks include funds for personnel, maintenance of buildings and grounds, and preservation and extension of museum collections. Source: James W. Bibb, budget director, department of administration, Feb. 24~ 1960. Kentucky Amount of State funds in budgets for fiscal years 1960-61, 1961-62: Public concerts (especially for schoolchildren) from funds allotted to the State council on public higher education (Louisville Symphony).- $106, 000 To commission the painting of murals by a 1st-class artist for the Uni- versity of Kentucky Medical Center 50,000 Kentucky Historical Society-museum and publication 108,000 Kentucky State Fair (premiums for art work awarded each year) 1, 000 Source of funds: The general fund and trust and agency fund. Other information: Kentucky has no agency, the primary functions of which are devoted to' fine arts and other cultural activities. Concerning the allotment of funds for public concerts to the State council on public higher education: Members of the orchestra-that is, the Louisville Symphony Orchestra-also will be available for lectures and film demonstrations -as' a result of these funds. Concerning the murals to be painted at the University of Kentucky Medical Center: These murals not only will enhance the esthetic beauty of this vast medical center, but also will be viewed by thousands of persons during the life- PAGENO="0139" AID TO FINE ARTS 131 time. of the `hospital.. A large piece, of free sculpture will be centered outside the entrance to the new medical center This work also will be commissioned by the university in behalf of the State Concerning the Kentucky Historical Society The society maintains a museum filled with art pieces in the old State capitol in Frankfort * * * The society writes legends for all historical highway markers and approximately 150 of them' have been erected since 1948 The society also publishes the official State his torical quarterly. Source:. Robert R. Martin,, commissioner of finance, Commonwealth of Kentucky, Depart- ment of Finance, May 19, 1960. Louisiana State of Louisiana Art Commission (official State agency created by the legis- lature in 1938 and supported entirely by State appropriations): Current annual operating budget, $20,500 (facilities also provided by the State). . . Program set up in two major categories: 1. Baton Rouge Art Galleries; 2.' extension services (including the loan and circulation of free traveling exhiba tions and slide talks). Executive board (serving without pay of any sort): State `superintendent of education, president of Louisiana State. University, president of Baton Rouge' Art League. Source: Jay R. Broussard, director, State of Louisiana Art Commission, . February 1960~ Maine Amount of State funds appropriated for current biennium: 19i9-60 1960-6i State-created or State-sponsored agencies: Maine Art Commission State museum State historian Park commission (restoration of forts and memorials) Groups or organizations which receive State grants: Knox Memorial Association (toward support of Montpeller) Maine Historical Society Aroostock County (to restore forts) Various towns, purchase of histories Maine Federation of Music Clubs for biographical sketches of Maine composers~ $3,500 6,272 500 ` 0 1,000 2, 750 5,000 2,075 750 $2,500 6,292 . 500 48,400 1,000. 2, 750 0 0 0 Method of allocation: The individuals and groups involved appear before the legislative appropriations committee and explain the need and the funds which are approved~ by legislative action are then sent directly to the group or organization. Source: David F. WJiite~ budget examiner,' department of finance and administration, bureau of the budget, Feb. 29,. 1960. MaryZa~Z Amount of State funds appropriated in 1960: Star Spangled Banner Flag House Association to assist the association in perpetuating the old Flag House $2, 500 Baltimore Symphony Orchestra Association, Inc 25,000' Maryland Historical Society (among whose activities are the prepara- tion of historical road markers) 27, 500 Maryland house and garden tours to assist Historic Annapolis, Inc. (ap- propriation provided through the department of economic develop- ment) 1, 000 Maryland State Fair Board 14,400 Source of State appropriations and method of allocation: All amounts listed come from general fund revenues, with the single exception of funds for the Maryland State Fair Board, which come from racing revenue. All amounts. are allocated as lump sum grants. In most instances the amounts are stated by law or are calculated on the basis of legal formulas; the remainder are determined in the course of the budget process. PAGENO="0140" 132 AID TO FINE ARTS Other information: Although many of the organizations and institutions listed operate on the basis of State charters * * * they can [not] be identified appropriately as State-created or State-sponsored * * * there are no State- £reated or State-sponsored agencies whose major interest is in cultural activities, but * * * there are groups or Organizations * * * which receive State support for the promotion of cultural activities. Source: Dwight C. Smith, Jr., budget analyst, department of budget and procurement, Mar. 15., 1960. Messachnsetts (Partial reply) The art commission (for the Commonwealth) has complete jurisdiction over State commissions for sculpture, design of medals, and the like. An important new venture Which began last summer is the Metropolitan Boston Arts Center. The Metropolitan District Commission, which is a State agency, contacted with a local drama group for the production of plays in an open-air summer theater, which was constructed by the MDC. Source: Martin Llchterman, research director, executive department, the Commonwealth of Massachusetts, Mar. 15, 1960. Michigan Amount of State funds appropriated for the current year: Historical commis- sion, $100,979. Other information: The State of Michigan does not directly support any State, local, or private organizations relating to fine arts and cultural activities, as such. Source: JameS W. Miller, controller, department of admInistration, Feb. 22, 1960. Minnesota State art society: Governing board consists of the Governor, the president of the university, as ex-officio members, and 11 other members appointed by the Governor by and with the advice and consent of the senate for 4-year terms. Included in such appointees shall be four artists or connoisseurs of art, one architect, and one person prominently identified with education (no appropria- tion from the State). Minnesota State Historical Society: Reëeives an annual appropriation of ~$225,000. Although a private body, 89 percent of the operational cost of the society is financed by State appropriation. Construction of the building was by State appropriation, as well as the maintenance and custodial care of the building. Minnesota State Fair art exhibit: While the State fair board only spends about $5,000 a year on premiums and overhead expenses for the art exhibit, the major portion of the $10 million investment in land, buildings, and improvements ~of the State fair was by legislative appropriations. Source: Florence Reber, department of adminIstration-budget, Feb. 19, 1960. The cultural climate in Minnesota is excellent, and we have a multiplicity of activities, largely conducted and sup~rted by private resoutces. The interest and enthusiasm of our citizens in this respect is indeed fortunate, since * * * the legislature does not appropriate extensively for direct State support in this area. Source: Orville L. Freeman, Governor, State of Minnesota, Mar. 1, 1960. MississipØ Pertinent information reported: The legislature in 1958 authorized the restora- tion of the old capitol located in Jackson. * * * This capitol Was erected in 1840 and remained the seat of government until 1903. * * * When it is com- pleted, it will be the State's outstanding museum of Mississippiana. Source: J. M. Tubb, State superintendent of education, department of education, Jackson, Miss., Sept. 16, 1960. PAGENO="0141" AID TO FINE ARTS 133 Missouri Amount of State funds appropriated for 1950-61 biennium: State museum (contained in the appropriation of the division of re- sources and development) $34 000 State historical society 196, 675 Source: George A. Bell, assistant budget director, division of budget and comptroller, Mar. 9, 1960. Montana Amount of State funds apprOpriated for fiscal year ending June 30, 1958: Montana Historical Society $65, 208 Montana Fine Arts Commission 66, 743 Other information: The fine arts commission spent $1,612 during the fiscal year ending June 30, 1958. This was not a legislative appropriation, but is still considered State funds. The money was received from private donations. The board of directors of the State historical society is presently appointed by the Governor. The Governor is also chairman of the fine arts commission. Source: J. Hugo Aronson, Governor, State of Montana, Feb. 15, 1960; Robert J. Smith,, budget analyst, director of the budget, Feb. 25, 1960. Nebraska No such support (that is, State financial support of the fine arts or cultural activities) is given to any activity of this kind in Nebraska from any type of State fund. Source: Jack W. Rodgers, director of research, legislative council, Mar. 18, 1960. Nevada Amount of State funds appropriated from the geneial fund State museum $41 757 Nevada Historical Society 29,748 Source: Grant Sawyer, Governor, State of Nevada, Mar. 11, 1960. New Hampshire Amount of State funds appropriated for fiscal 1960 League of New Hamp- shire Arts and Crafts, $8,000. Source: Leonard S. Hill, comptroller, division of budget and control, department of administration and control, Mar. 2, 1960. New Jersey Tabulation of specific appropriation from "Governor's 1961 Budget Message": Activity 1959 1960 1961 expended appropriated recommended State capitol development commission $20 000 State board of architects 38, 759 $29,178 $34,496 State museum 334,328 350,293 360,865 Other information State financing of these and other activities depend upon the factors of public policy, need, and advisability, and the availability of funds. It should be noted that some portion of the total State share to education. (al- most $163 million or 39 percent of the 1961 recommended budget) is used to teach fine arts subjects to students in this State~ (Source: Abram M. Vermoulen, director, division of budget and accounting, department of the treasury, Feb. 26,1960.) , PAGENO="0142" 134 AID TO FINE ARTS New Meuiico Amount of State funds appropriated: Museum of New Mexico (for current fiscal year): Anthropology $64, 553 History' (presently included in administration). Fine arts 46,429 Folk art 39,210 Administration 67,071 Custodial and maintenance 56,212 State monuments 13,663 Publications (presently included in administration). Libraries (of cultural and artistic materials) 27, 862 Total 320,000 1 In current reorganization of the museum structure, plans are completed for separate budgeting of funds for a division of history and a department of publication, In the next- 1961-62-general appropriation. (As a separate line item in the museum's budget is the sum of $5,000 ad- ministered by the museum for-and allocated to-the Roswell (municipal) Mu- seum, Roswell, N. Mex., for maintenance of an exhibit memorializing R. H. God- dard, the pioneer rocket technologist whose experiments were conducted in the vicinity of Roswell.) Historical Society of New Mexico (annual appropriation) $10,000 Inter-Tribal Indian Ceremonial Association (current annual appro- priation from general revenues) 29,300 Old Lincoln County Memorial Commission (current annual appro- priation from general revenues) 22,500 The State fair (current annual appropriation earmarked from fair revenues) - 1,000,000 Additional information: Museum of New Mexico: Our principal State agency devoted to cultural activ- ities is the Museum of New Mexico, founded in 1909 by an act of the (then) territorial legislature.. It is supervised by a board of regents of seven members, appointed by the Governor. Its fields of operations are four in number: south- western anthropology, southwestern history, fine arts, and international folk arts. * * * Besides exhibits, related museum activities include public lectures * .* * concerts (folk art), film rental service, archival and photograph reference service, traveling exhibits (fine arts and folk art), and the use of the three mu- seum auditoriums by local concert and other nonprofit cultural groups. The museum also is in charge of five State monuments. The museum publishes a bimonthly journal * * * with about 80 percent of costs covered by State funds. State financial support for the museum is in the form of a biennial general appropriation against general revenues. Historical Society of New Mexico: Closely connected with the museum is the Historical Society of New Mexico, originally founded in 1859 and reestablished in 1881. A private organization, it has statutory right to use certain rooms in the palace of the Governor for the exhibition of its collections, which are in the care of the museum staff. In cooperation with the museum and the Uni- versity of New Mexico it publishes the quarterly New Mexico Historical Re- view. It receives an annuiU appropriation of $10,000, from general revenues, upon a budget prepared and presented to~ the legislature by the museum in conjunction with the museum's own biennial budget request. Almost all of this mount is expended by the Review publication costs, and the salary of an archivist. Inter-Tribal Indian Ceremonial Association: A nonprofit corporation desig- nated as a State agency for the purpose of encouraging the preservation and development of Indian arts~ and crafts and preserving traditional rites and Leremonials. The association presents a public exhibition of ceremonial and wares, by Indians * * * every year. Old Lincoln County Memorial Commission: A State commission appointed by the Governor to maintain the old Lincoln County courthouse and related buildings as a historical museum. PAGENO="0143" AID TO FINE ARTS 135 The State Fair: May be considered a cultural activity on the basis of its dis- plays of arts and crafts. It is a State agency, the board of which is appointed by the Governor, for the purpose of holding annual exhibits primarily of agri- cultural and mineral products and equipment, and other features which the commissioners may deem consonant with the purpose of a State fair. It has its own extensive grounds and buildings in Albuquerque. Source: Bruce T. Ellis, acting director, Museum of New Mexico, Palace of the Governors, Mar. 1, 1960. New York Amount of State funds appropriated and descriptions of activities: Advisory Council on the Arts: Passed by the legislature in 1960 with a sup- porting appropriation of $50,000 to survey ways in which the State could en- courage appreciation of, and participation in the fine and performing arts. Division of archives and history of the State department of education: Ad- ministrative costs will amount to about $135,000 in 1960-61. This division prepares materials and exhibits a collection of historical objects. It also as- sists local .historians, erects markets, and manages local record programs. Commission on Historic Sites: With an appropriation of about $240,000, the State will maintain 20 historic sites in 1960-61. Among sites which will be pre- served, restored, or refurnished by these funds are:. Fort Crailo; Johnson Hall; John Brown Farm; John Jay Homestead; Philipse Manor; Schuyler Mansion; Walt Whitman home; and Washington's headquarters. State Museum and Science Service: About $421,000 are expected to be spent for such activities in 1960-61. The State museum maintains exhibits and col- lections of scientific and cultural interest. (The science service conducts re- search, publishes results, offers scientific services, and cooperates with other public and private research organizations.) Marine Stadium at Jones Beach; Stadium was constructed with State funds at a cost of $4.2 million. It is leased to private producers during the summer for theatrical performances. Saratoga Springs Reservation: State leases a theater to a professional sum- mer stock company. Free concerts and chamber music are provided at the reservation's Hall of Springs. New York State Power Authority: Thomas Hart Benton's murals at the St. Lawrence and Niagara power projects were commissioned by the authority at a cost of about $30,000. The authority also participated with Canada in com- missioning Morton Gould's St. Lawrence Suite for the opening ceremonies of the St. Lawrence Seaway. Parks and other facilities are made available for the performing arts, such as the dance festival at Watkins Glen in Finger Lakes region, the Arena Theater at Albany State Teachers College, and free Shakespearian drama in New York City's Central Park. New York State Fair: The fair features exhibits of painting and sculpture by professional artists, displays of Indian handicrafts, and fosters achieve- ment in the graphic arts and music in other ways. Other information included: At the Governor's request, a bill was introduced in the legislature this year to establish an advisory council on the arts, supported by an appropriation of $50,000. This bill was passed as chapter 313, laws of 1960. The council will conduct a comprehensive survey of the State cultural resources and make recommendations to the Governor and to the legislature by October 31, 1960, concerning ways in which the State can encourage appreciation of and par- ticipation in the fine and performing arts The Governor also proposed legislation to create a temporary State corn- * mission, supported by an appropriation of $50,000 to prepare for State par- ticipation in the [World's] Fair. This became chapter 429, laws of 1960. Source: William J. Ronan, secretary to the Governor, executive chamber, May 11, 1960. PAGENO="0144" 136 AID TO FINE ARTS J~7orth Carolina Amount of State funds appropriated for 1959-~61 Appropriations 1959-60 1960-61 State art society Department of archives and history North Carolina Symphony Orcbestra (grant-in-aid) Old Salem, Inc. (grant-in-aid) Tryon Palance Commission State museum of natural history Bnenett Memorial Confederate Museum (at Richmond, Va.) $129, 559 411,944 30,000 50,000 72,886 37,676 .50 200 $137,105 394, 439 30,003 0 69,055 37,706 50 200 Source of appropriations: In North Carolina, State support is a strict term relating to appropriations from tax funds. Where appropriations are men- tioned * * * these do not include the activity's operating receipts nor does it include State tax funds spent for capital improvements or other capital outlay. Other information: The State Art Society: A private nonprofit organInation instrumental in oper- ating the North Carolina Museum of Fine Art, which has collections valued at about $3 million. AboUt $1 million worth of these collections were purchased with State funds (tax funds appropriation). Also, the building has been pro- vided by State funds. Operating expenses are appropriated in major part by. the State. The State department of archives and history: An agency financed almost entirely by State funds. It operates the State Museum of History (the Hall of History). The agency also sets up historical markers and develops and main- tains certain historical sites, including several local museums. The State Museum of Natural Science at Raleigh (under the State depart-~ inent of agriculture): Established about 1850. Now each of the three major museums in Raleigh-North Carolina Museum of Fine Art, Hall of History, and State Museum of Natural History-is under a different State agency. The Tryon Palace: Reconstruction and rehabilitation of palace and grounds of the colonial Governor in old capital town of New Bern. A private endowment has provided practically all of the capital outlay and physical maintenance. Operating expense is paid by admission fees with the deficit being paid out of State fund appropriations. The property is held in the name of the State. Historical sites administered by the department of archives and history: Alamance Battleground (includes a museum) supported entirely by State. appropriations; Bentonville Battleground (includes a museum); Brunswick Town (a museum is being developed here) ; Town Creek Indian Mound (includes a mound temple and a museum) ;` the Covered Bridge; James Iredell House; Zebulon B. Vance birthplace; President James K. Polk birthplace; Charles B. Aycock birthplaëe; House in the Horseshoe; Temperance Hall. Town anniversary celebrations to which State has contributed: Town of Bath. 300th anniversary celebration; town of New Bern 250th anniversary celebration. Historical associations which receive State funds: Roanoke Island Historical Association: A private organization which is in- volved in presenting the outdoor drama "The Lost ColOny" and in the mainte- nance of old Fort Raleigh. The State pays their deficits occurred with reference. to these. The Smoky Mountains Historical Association: Deficits incurred from several summer performances of certain outdoor dramas are met by State-appropriated funds. Other recipients of State support: Historic Halifax, Inc.: State assistance for restoring certain buildings. Gov. Richard Caswell 1~Iemorial Park: Historic site administered by an inde- pendent commission. Old Salem, Inc.: State assistance for certain restoration. The North Carolina Symphony Orchestra: Deficits of this activity are paid by the State. Many of its performances are given without admission charge. Source: Charles R. Holloman, budgot snalyst, educstion, department of administration, June 1, 1960. PAGENO="0145" AID TO FINE ARTS 137 North Dakota Funds appropriated by the North Dakota Legislative Assembly are not ear- marked for any specific cultural purpose. In 1959, the State museum received an appropriation of $172,200. Source: A. E. Mead, commissioner, North Dakota State Board of Higher Education, Mar. 3, 1960. Ohio Amount of State funds appropriated for the 1959-61 biennium. . ~ Fiscal 1959-60 Fiscal 1960-61 Biennium ~ Ohio Historical Society Capital improvements $609, 755 (1) 23,212 $598, 716 (1) 23,356 $1, 208,471 (165,000) 1,373, 471 46, 568 Total Anthony Wayne Parkway Board (operating expenses) 1 Not available. Source of funds: State general revenue fund. Description of activities: Ohio Historical Society: This organization (financed partly by State funds) has as its purposes the collection and preservation of records, artifacts, and sites from which Ohio history may be compiled and understood. The society maintains the Ohio State Museum and its extensive library, and 59 State memorials. Its bureau of archives administers and exhibits the important docu- ments dealing with the history of Ohio. Anthony Wayne Parkway Board: This board plans and promotes, through the cooperation of various local, State, and Federal agencies, the development of ~a unified system of parks and historical shrines in the 23-county parkway district. It promotes the development of projects and ls charged with preparing drawings and reports for the establishment of markers, restorations, and mu- seums. (It has, however, no authority to develop or maintain any project.) Source: Department of Industrial and economic development, division of research and Planning, Columbus, Mar. 11, 1960. Oklahoma If you exclude libraries and historical museums, the State of Oklahoma gives no financial .support to agencies of this type. We presunie that you do not in- clude libraries and historical museums in this category. No financial support is given to private groups of this type There is no State art commission or council Source: J. Howard Edmondson, Governor, Mar. 14, 1960. Pennsylvania Amount and source of State funds (for fiscal biennium 1959-61) The State, out of its general fund, provides aid in the form of grants to several cultural institutions, however, these grants are given primarily to support the educational program being conducted by these institutions: Philadelphia Commercial Museum $60, 500 Philadelphia Museum School of Art 193, 600 Carnegie Museum, Pittsburgh 50,000 Other activities supported: The Pennsylvania Historical and Museum Com- mission whose primary function is the preservation of Pennsylvania's historic heritage is currently cosponsoring a lecture series on Pennsylvania life and culture. The cost of this program, paid out of the commission's general fund appropriation will amount to approximately $300. The commission also co~- sponsors seminars on Pennsylvania culture at the State university. Source David R. Baldwin, budget secretary and deputy secretary of administration, Mar. 7, 1960. 70259-61--b PAGENO="0146" 138 AID TO FINE ARTS Rhode 181a1v1 Amount of State funds: Direct appropriations (for current fiscal year except as otherwise noted) Free concerts for public school students $7, 000 Free public concerts 7,000 Free public operatic performances 7, 000 Rhode Island Building at the Eastern States Exposition 4,000 Subsidies: Rhode Island Historical Society 9,700 - Newport Historical Society 1,500 Cocumcussoc Association 1,000 General Nathanael Greene Homestead 1,500 Varnum House Museum 1,500 Old Slater Mill Museum 10, 000 Newport Music Festival 5, 000 Providence Philharmonic Orchestra 2, 500 Irish Music Festival 2,500 Woonsocket Mardi Gras 6,500 Source of funds: It may be generalized that where specific appropriations are voted they are made from general funds and rarely from particular earmarked receipts. No formula can be devised which adequately describes the method of apportioning funds to each program, but the amounts may be said to be predi- cated upon the widespread enthusiasm with which the citizens of Rhode Island and their representatives embrace cultural and fine art projects. That this enthusiasm is growing is evinced by the continually increasing ex- penditures for educational and cultural purposes. For example * * * the in- crease in [State] appropriations to subsidize cultural organizations was ap- proximately 30 percent [over the last 3 years]. Rhode Island has maintained * * * a generally consistent policy of refraining from taxing educational and related Cultural institutions and has even extended this benefit to some of their personnel. More recent application of similar fore- sight has resulted in the general practice of granting free use of State-owned buildings to private organizations for the presentation of functions in the public interest. The general assembly, with the assent and cooperation of the executive branch, traditionally holds well publicized commemoration exercises on the occasion of Lincoln's birthday. Still another enactment of the last legislative session has potentially great sig- nificance. The Historic Area Zoning Act enables city and town~ authorities to draw up regulations for the protectiOn of areas of historic interest. Other information :~ The Department of Public Works bears the responsibility for the repair and maintenance of historical monuments. Some of the more important of these are: Butts Hill Fort in Portsmouth, the site of the only land battle in Rhode Island during the Revolutionary War; General Stanton Monu- ment in Charlestown * * *; Great Swamp Fight Monument where the major battle of the Indian King Philip's War was fought in 1675; and Queen's Fort in Exeter which was an ancient Indian fortification. Source: Charles A. Kilvert, director of administration, State of Rhode Island and Providence Plantations, Mardi 15, 1960. South Carolina The following related activities appear in the State of South Carolina appro- priations for fiscal 1900-61: Archives Department: Calhoun Papers project $9, 592 Confederate Relic Room administration 3, 571 Woodrow Wilson home maintenance repairs____ 650 Poet Laureate 600 To match other funds provided for purchase by the State of a collection of the works of William Gilmore Sims 5, 000 Confederate Museum 100 Oakley Park Red Shirt Shrine 1,800 Source: Appropriations for 1960-61. State of South Caro]ina-State publication hearing name of E. C. Rhodes, comptroller general. PAGENO="0147" AID TO FINE ARTS 139 Tennessee Amount of State funds appropriated by the general assembly (for fiscal 1959-60): State library and archives $250,000 Historical grants-in-aid 300,000 State museum 120,000 ~ This is not a separate appropriation; however, the* amount set out Is expanded from the Department of Education's appropriation for the museum. Source of funds: General revenue. Other information: The State `library maintains the legislative reference library and a technical and historical library. * * * In the `archives `records of the State government are preserved. Historical grants-in-aid are, made available to some 15 private nonprofit com- missions and associations for the preservation of historical sites throughout the State of Tennessee. In the State museum are preserved and exhibited costumes and relics of historical periods in Tennessee. The Tennessee archeological exhibit is also located in the museum with many rare specimens in pottery and stone imple- ments and an Egyptian mummy. Source Edward J Boling director division of finance and administration Mar 8 1960 `Tewas `.. Amount of fund~ appropriated (for fiscal year ending August 31, 19430): Library and historical commission $395, 826 State parks board 406,104 Historical State parks 38,234 Historical survey committee 23,020 Museums 131, 745 Source: Jess M. Irvin, Jr., administrative assistant, executive department, May 31, 1960. Uta7~ Amounts of State funds appropriated (according to recent budget): Utah State Institute of Fine Arts (current budget allocations) Art contest $2, 000 Writing contest 2,000 Crafts 500 Utah Symphony Orchestra 13 000 Total 17, 500 Utah State Fair Association (typical of recent budgets): Fine arts contest (premiums) $1, 150 Ceramics contest 625 Music contest 325 Total 2,100 Source of funds: General revenues. Method `of allocation: Funds `are allocated by the art institute board consist- ing of 13 unpaid directors appointed by the Governor. Other information: The Legislature of the State of Utah created the Utah State Institute of Fine Arts, effective May 11, 1937, an agency which has been charged with the responsibility of fostering all of the fine arts in Utah. The organizational structure of this agency envisions activities and projects in art, drama, writing, art museum, dancing, and music. PAGENO="0148" 140 AID TO FINE ARTS In recent years the total appropriation to the art institute has been $10,000 per year; however, during the current biennium this amount was increased to $17,500. Source: Harold L. Gregory, secretary and treasurer, Utah State Institute of Fine Arts, Mar. 14, 1960. Vermont Amount of funds appropriated: Vermont Symphony $5, 000 Vermont Historical Society (1960) 20,000 Source of funds: General fund. No special taxes are earmarked for these purposes. Other information: The Vermont Historical Society is a semiprivate State agency which obtains approximately half of its funds from membership and en- dowment funds. Source: Lawrence J. Turgeon, State librarian, May 25, 1960. Virginia Amount of funds appropriated (under current State budget): The Barter Theater (Abingdon)__~. $15,000 Confederate 1~Iuseum (Richmond) 1,800 Valentine Museum (Richmond) 5,000 Virginia Museum of Fine Arts 271, 000 Source of funds and method of allocation: Appropriated by the State legisla- ture from the general fund on recommendation of the Governor's budget com- mittee. Other inforn~ation: At the Virginia Museum, a combination of State funds and revenues (membership dues~, admission fees, sales, desk, etc.) pays for operation and mgintenan~ce of the building, salaries, costs of exhibitions, pro- grams, eve~nts and the artmobile. Endowment income and gifts are used primarily fQr the purchase of art for the collections. Source: Leslie Cheek, Jr., directorS Virginia Museum of Fine Arts, Mar. 1~ 1960. TVa.shington Amount of funds appropriated (for fiscal 1960): State historical society (Tacoma) $55, 155 Eastern Washington Historical Society (Spokane) 28, 191 State capital historical society (Olympia) 23, 993 State museum ~ 948 Henry Art Gallery 14,633 Parks and recreation commission museums - 46,075 Source of fuAds All of these e~pei~ditures are supported by the State's gen- eral fund except for the parks and recreation commission, which is financed from an earn arled portion of driver's license fees and highway fines and forfeitures. Other oration: The parics and roe atior commission maintains three museums at Fort Columbia, Fort Simcoa, and Ginko Petrified Forest. The com- mission employs a full-time historian, and three museum curators during the summer months. Tb~ University of Washington operates the Washington State Museum and the Henry Art Gallery on its campus in Seattle. Source: Warren A. Bishop, budget director, o~ce of the. Governor, central budget agency Mar 10 1960 PAGENO="0149" AID TO FINE ARTS 141 West Virginia Amount of funds appropriated, West Virginia Centennial Commission: To be invested for each of the years 1959 and 1960 $100, 000 For operating expenses 12, 500 S-tate department of archives and history (fiscal 1961) 44,490 Source of funds: General revenue fund. Other information: The State department of archives and history maintains a library of more than 100,000 volumes. It also maintains a museum. Moreover, it is interesting to note that contri- butions to the museum last year cost as much to produce as the department's appropriation. There were approximately 40,000 visitOrs to the museum last year. Source: Cecil H. Underwood, Governor, Mar. 11, 1960. Wisconsin Amount of funds appropriated (1959-61): 1959-60 1960-61 State fair (department of agriculture) Archeological society Fine arts commlsslon $1, 025,000 800 100 200 $1, 025,000 800 100 200 Historical markers commission Bistorical society Radio council (State radio broadcast system) 783,210 234,157 776,794 225, 843 1957-58, actual expenditures Portraits of former Governors $5, 197 Description of activities: State fair: The objectives of this appropriation are to conduct the annual Wisconsin State Fair and to maintain the State Fair Park and its buildings in line with funds available from operation of the fair, rental received from buildings, income from special events, and revenue from concession rentals. Archeological society: The archeological society studies and attempts to preserve antiquities. The State appropriation is used to. pay for publication of -the Wisconsin Archeologist. Fine arts commission: The commission approves the design, structure, composi- tion, location, and arrangement of all monuments, memorials, and works of art which become the property of .the State, excluding those acquired by the Tiniversity of Wisconsin and the State historical society. Historical society: Administration, museum, library, physical plant, business office, field office, education and interpretation, and sites and markers are sup- ported almost entirely from State appropriations. Publications, Villa Louis, Old Wade House, and the historymobile are supported all or largely by private funds. The library collects and preserves books, pamphlets, periodicals, newspapers, manuscripts, etc. The museum collects, preserves, and displays objects and pictorial material portraying the history of Wisconsin and the West. The new Federal highway program pays the cost of salvaging historical items * * * but the State must make the initial survey. The American History Research Center * * * focuses research on local history and operates a grants-in-aid program to encourage writing of local history. Nelson Dewey Park: This is the State's contribution to operation of the State farm and craft museum at Stonefield. PAGENO="0150" 142 AID TO FINE ARTS Sites and markers: This activity has charge of historic sites operated by the society * * * and the preparation and erection of historical markers. Historical markers commission: To plan and develop a uniform system of marking for State historical, archeological, geological, and legendary sites in the State. The commission may accept aid and support of local public or private groups. Radio council: The State network now broadcasts 1514 hours daily, Monday through Friday * * * and * * * for 10½ hours on Sunday. University of Wisconsin: It might also be noted that the Memorial Union Theater, part of the university, is open to the public. The theater schedules concerts as well as stage plays and operas. Other information: As far as the fiscal operation of the agencies is concerned, the method (i.e., of reporting State appropriations) has one shortcoming. The Wisconsin budget spells out the receipts and disbursements by agency rather than by function. Thus, where functions cross agency lines, it is difficult if not impossible to obtain an accurate estimate of the total funds involved. A case in point is the Wisconsin Academy of Sciences, Arts, and Letters * * * the appropriation listed covers only the cost of the publication of the academy's Transactions (partly covered by membership fees). In addition the academy has for its library the part-time services of a librarian employed by the Me~ morial Library of the University of Wisconsin, and is assisted in the planning of its annual meeting and the publication of its Transactions by a professor from the College of Letters and Science of the University of Wisconsin. In addition, some of the work for the academy is performed by an employee of the Wisconsin Conservation Commission, a civil service employee of the State of Wisconsin. For an accurate assessment of the expenditure of State fluids on behalf of the Wisconsin Academy of Sciences, Arts, and Letters, the monetary value of the work performed by these three persons should be taken into consid- eration; however, as the cost is absorbed by the State agencies which employ these persons there is no information on the value of this item. A similar situation exists in practically every case, but the figures cited * * * will give * * * proof that the State does expend moneys for these specific ac- tivities in the cultural field.~ It is not possible to obtain an accurate total. There are, however, two State activities of definite cultural value which are not set out in the budget document because their costs are entirely absorbed by participating State departments: The functions performed by the Natural Resources Committee, and the State Board for the Preservation of Scientific Areas. For neither function is there an appropriation for operating expendi- tures.. * ~ * State employee members of these boards are reimbursed for actual expenses by the departments by which they are employed. We understand that particularly in the case of the Natural Resources Committee the hidden costs might amount to a sizable figure, in that the committee is composed of top-level employees who receive part of their salaries for work performed in the service of the committee. Source: M. G. Toepel, chief, legislative reference library, Feb. 26, 1960. TVyoming There is no State agency in Wyoming whose major interest is in cultural ac- tivities, and no State appropriation is made for fine arts or cultural purposes~ The University of Wyoming does participate in and carry on cultural programs. Source: J. J. ".Toe" Hickey, Governor, Feb. 16, 1960. PAGENO="0151" AID TO FINE ARTS 143 [From the Congressional Record, Jan. 13; 1960] CULTURAL ACTIVITIES IN THE DISTRICT OF COLUMBIA Mr. HUMPHREY. Mr. President, I introduce, for appropriate reference, a bill to provide that 1 miii out of each $1 of tax revenue of the government of the District of Columbia be set aside in a special fund to be used by the Recreation Board for the District of Columbia to defray in part the expenses of the Na- tional Symphony Orchestra, the Corcoran Gallery of Art, and other nonprofit art and cultural programs of the District. There can be no doubt that the city of Washington is truly one of the most beautiful in the entire world. All who come here are impressed by the city's lovely tree-lined streets, beautiful parks, and its public buildings. Throughout my service in the Senate, I have consistently supported measures to improve the city of Washington and to make it an even more beautiful and pleasant city in which to live. I shall continue to support such programs be- cause I believe it is in the best interest not only of the city of Washington but the United States itself. After all, Washington is a picture window through which the people of other nations look and draw their judgments about Amer- ica. Washington should represent the artistic and cultural aspirations of the American people. Unfortunately, all too little has been done to promote the arts, in the Nation's Capital. I was most interested in the study prepared last year by the Library of Congress for Representative Harris B. McDowell, of Delaware, which revealed that Washington's budget has allotted for civic cultural events only $16,00D-of which about $10,000 helps to support the Watergate concerts. As compared with Washington, New York spends $2,600,000, Philadelphia $824,000, and Baltimore $448,000. The small city of Hagerstown, Md., only a short distance from the Na- tion's Capital, gives its Museum of Fine Arts $12,500 out of its regular annual budget-only $3,500 less than the entire amount that Washington spends out of its more than $200 million budget. , To date, the promotion and financing of opera, ballet, orchestras, and theaters has been left primarily up to the citizens of Washington itself. Precious little has been. given by the District Government to promote the arts. If any city in *the United States should be spending money to promote the arts, it should cer- tainly be Washington, the Capital of the United States. I, therefore, believe it is time that Washington join with other cities of our great country to promote the arts by providing that at least a small portion of tax revenue go for such programs. Under my bill, 1 mill out of every dollar of tax revenue of the District of Columbia, would be deposited in a special fund in the Treasury of the United States. The money in such fund would be made available to the Recreation Board for the District of Columbia to help in defraying at least in part the expenses of the National Symphony Orchestra, the Corcoran Gallery of Art, and other nonprofit art programs. We can be proud of our fine National Symphony Orchestra and of the Cor- coran Gallery of Art, but we in the Congress can take little pride in the fact that we, as the City Council of Washington, have done precious little to promote these institutions and.other cultural programs of the District. We have an obli- gation to join with the citizens of the District to give financial `support for the fine arts of Washington. I ask unanimous consent, Mr. President, that the study made by the Library of Congress at the request of Representative McDowell, to which' I have referred, be printed at this point in the Record. There being no objection, the study was ordered to be printed in the Record, as follows: PAGENO="0152" EXHIBIT A Municipal financial support of certain artistic and cultural activities in selected U.S. cities, a compilation of answers to a questionnaire Birmingham Ala Buffalo, N.~/ 1 or 3 parts of a $100,000 recreation program. $7,500 $6,000 $5,000 $10,000 1059 appropriations: $25,594 $119,994 $288,000 $15,000 $00,000 (this year's appropriation) Appropriated in 1958-59: $73,430 $30,000 $27,300 Calendar year 1958: $232,405.87 $232,369.11 $232,405.92 $80,000 1959-60 gross appropriation, $543,081 1959 contribution, $9,200 Proposed budget for 1960, $18,400 1919 contribution, $9,200 Proposed budget for 1960, $18,400 $12,500 (provided for in annual budget) - - - $19,500 $20,000 $3,000 $25,000 General fund (part of "recreation program'). General fund do do do do do Endowment funds (estimated income) General funds (pensions) General funds Real estate tax and other current revenues do do Payments from Chicago Park District, an inde- pendent municipal corporation in the city of Chicago. (IA General revenues, "the major part of which is ad valorem tax." Local taxes, grants and gifts, and revenues Civil City of Evansville School City of Evansville I General revenues - do do do do Art museum. Plans for the construction of a municipal audi- torium and "cultural grouping for arts, library and arena." Band concerts. Atlanta Symphony Guild. Atlanta Pops Concert. Municipal Theater Under-the-Stars. Atlanta Art Association for Benefit High Mu- seum and School of Art. Albright Art Gallery. Buffalo Philharmonic Orchestra Society, Inc. ~ Kleinhans Music Hall. 00 Art Institute of Chicago. Museum of Science and Industry. Chicago Natural History Museum (field mu- seum). Fine Arts Museum. Arts Commission. Evansville Museum of Arts and Sciences. Do. Washington County Museum of Fine Arts. Museum of Natural History. Museum of Fine Arts. Civic Theatre. Houston Symphony. Akron, Ohio Mlanta, Ga Baltimore, Md City Amount of municipal financial support Source of municipal financial support Type of activity supported $36,000 General fund (indirect support in lieu of tax for facility). $5,000,000 Direct tax construction cost Chicago, Ill Dallas, Tex Detioit, Mich Evansville, md Hagerstown, Md Houston, Tex Municipal Museum. Bureau of Music. }Walters Art Gallery. Birmingham Museum of Art. do PAGENO="0153" Los Angeles, Calif Newark, N.J New Orleans, La $48,231 $33,592 Appropriation for fiscal 1959-60: $196,998.. 1959 appropriation~ $525,426 $40,000 annually Appropriated "this year": $5,000 $2,500 $875 $944,525 (operating budget, July 1, 1959, to June 30, 1960). $904,989 (capital budget, Jan. 1, 1959, to Dec. 31, 1959). $1,329,559 (operating budget, July 1, 1959, to June 30, 1960). $1,071,985 (capital budget, Jan. 1, 1959, to Dec. 31, 1959). $125,140 (operating budget, July 1, 1959, to June 30, 1960). $95,866 (operating budget, July 1, 1959, to June 30, 1960). $69,510 (capital budget, Jan. 1, 1959, to Dec. 31 1959). $127,000 ~operating budget, July 1, 1959, to June 30, 1960). $50,250 (capital budget, Jan. 1, 1959, to Dec. 31, 1959). $2,000 $69,083 1958-59: Salaries for a professional staff of 6 plus $2,000 allowance for books and $600 for pictures. $70,377 $57,212 $31,577 $25,000 $75,000 $25,000 $624,760 $30,000 $10,000 $35,000 (1959) $20,000 to $30,000 (annually) $25,000 (approximate cost to city annually). General fund do General revenues~ Tax and general revenues Appropriated by city do do do Tax levy and general fund revenues Capital allocations Capital allocations Tax levy and general fund revenues do Capital allocations Tax levy and general fund revenues Capital allocations General revenue do Annual appropriations by city council to library department from which library and museums commission adopts an operating budget. do do do General revenues do do do do do General revenues (through specific appropria- tions each year). do do Nelson Art Gallery (buildings and ground main- tenance). Philharmonic Orchestra (free rent). Starlight Theater (debt service for facility devel- oped by park department). Museum (buildings and ground maintenance). Liberty Memorial (operation and maintenance). Department of municipal art: bureau of music. Newark Museum. Delgado Museum of Art. New Orleans Philharmonic Society. New Orleans Opera House Association. Crescent City Concerts. Metropolitan Museum of Art. Do. Brooklyn Institute of Arts and Children's Museum. Brooklyn Institute of Brooklyn Academy of Music. Do. Museum of the City of New York. Norfolk Symphony Orchestra. Norfolk Museum of Arts and Sciences. Art and pictures department of main library. Oakland Public Museum. Art Museum. Snow Museum. Academy of Fine Arts. Robin Hood Dell. Philadelphia Grand Opera. Philadelphia Art Museum and Rodin Museum. Johnson paintings. Philadelphia Art Festival (every 2 years). Pittsburgh Symphony. Free summer band concerts. Arts and Crafts Center. Kansas City, Mo For fiscal year ended Apr. 30, 1959: $21 211 General fund park funds $9,925 General fund $42,830 General debt and interest fund Tax levy and general fund revenues American Museum of Natural History. 1~ew York, N.Y Norfolk, Va Oakland, Calif Philadelphia, Pa Pittsburgh, Pa See footnotes at end of table. 0 LTJ PAGENO="0154" Richmond, Va- Rochester, N.Y Current appropriations: $24,877 $1,500 $140,000 (approximate expenditures for 1950). $3,028 (1959) $5,000 1959-60 expenditures: $10,000 $20,000 Not indicated 1959-60 budget amounts: $4,500 $4,000 $66,866 $17,000 $10,000 $81,000 (approximate budget for ensuing year). $81,000 $1,500 1959-60 city budget: $57,159 $19,289 $48,715 $45,949 $10,000 1058-59 budget: $158,365 (taxes, $120,665; other, $37,700) $35,493 (taxes) $255,456 (taxes, $254,856; other, $600)..... $367,942 (taxes, $367,692; other, $250)... An average of about $28,740 per annum over the past 10 years. General revenue - ~do General revenues (budgeted annually according to estimated needs). do Direct appropriation General revenues or real estate taxes Not Indicated General ad valorem taxes do do do Permanent levy of $0.02 per $100 valuation on all real and personal property (established under State law in1907). Appropriations "financed as part of the overall city budget." do Supported primarily by general fund General revenues do do do do Budget of the city and county of San Franclsco.. do do do General funds....._ - Museum in Roger Williams Park. Band concerts. Recreation Bureau (sponsors orchestra, Nature Museum, etc.). Bureau of parks weekly band concerts. Valentine Museum. Civil Music Association. "Opera Under the Stars." Museum. Philharmonic Orchestra. Park band concerts. Croeker Art Gallery (city owned). Children's art and dancing classes (city recrea- tion department). St. Louis Art Museum. Fine Arts Gallery. Serra Museum (local history). Natural History Museum. Museum of Man (anthropology). San Diego Symphony. Art commission. War Memorial Art Museum. California Palace of the Legion of Honor (art museum). Dc Young (art) Museum. Everhart Museum. Providence, R.I Reading, Pa Municipal financial support of certain artistic and cultvral activities in selected U.S. cities, a compilation of answers to a questionnaire-Con. City Amount of municipal financial support Source of municipal financial support Type of activity supported Sacramento, Calif St. Louis, Mo 1958 revenue: $320,007.53 St. Paul, Minn 1959 city budget appropriations: $13,500 San Antonio, Tex San Diego, Calif San Francisco, Calif Scranton, Pa 0 St. Paul Gallery and School of Art. St. Paul Civic Opera. Witte Museum. do 2 municipal auditorium. do San Pedro Playhouse (auditorium devoted pri- manly to theatrical productions). PAGENO="0155" eOi,u,iz~so_. $18,161.40 .~ ._....do_ $1,267 - Not indicated ~ .....do ~ Art commission. Art museum. Public music. Art division of the library department. Museum of Natural History. George Walter Vincent Smith Museum. William Pynchon Memorial (Connecticut Val- ley Historical Museum). Springfield Museum of Fine Arts. Fine arts department of lihiary. Syracuse Museum of Fine Arts (privately char- tered institution). 1 City budget for 1060 based on 1 cent per $100 valuation of the city. Funds provided Source: Compiled by Anne M. Finnegan and Helen A. Miller, Education and Public by, taxes earmarked for this specific purpose. Welfare Division, Legislative Reference Service, Library of Congress, July 29, 1959. 2 Included In the library budget Is the position of musical adviser, which is the way In which the city contributes to the salary of the conductor of the Springfield Sym- phony Orchestra. seattle, Wash $282.27 - -- Springfield, Mass.2 - Syracuse, N.Y City's annual budget funds without regard to income source. (In General tax revenues tin $25,000 appropriation annuauy Ueneral tax levy - ci H PAGENO="0156" 148 AID TO FINE ARTS Mr. HUMPHREY. Mr. President, I also ask unanimous consent that two let- ters to the editor, which appeared in the Washington Evening Star of December 23, 1959, and which deal with this subject, be printed at this point in the Record. (There being no objection, the letters were ordered to be printed in the Record, as follows:) DISTRIcT OF COLUMBIA SHORTCHANGING ITSELF ON CULTURE I want to commend the Star for the exceUent article about the Corcoran Gal- lery of Art by John McKelway on Sunday, December 13. It is good to have the Star assure us that the Corcoran is vigorously alive on its 100th birthday and looking forward to its second century of service in art and the associated field of education. But, naturally, along with many other people, it is Mr. McKelway's discussion of what will be needed during these coming yonrs that holds my deepest concern. To begin with, one point should be fully understood. It is useless and, indeed, misleading to compare the income of the National Gallery of Art with that of the Corcoran. These two great galleries represent two quite different setups. The National Gallery is federally owned and largely federally supported; the Corcoran is not and never has been, nor did William Wilson Corcoran intend that the gallery which bears his name would be a Federal Government institution. The comparison, rather, should be between the Corcoran and, say, New York's Metropolitan Museum of Art, and with other municipal museums throughout the country. These museums are greatly assisted by municipal tax funds and couldn't continue to remain open without such financial assistance. According to recent study made by the Library of Congress for Representative Harris B. McDowell, Jr., Democrat, of Delaware, included in the Congressional Record, September. 14, 1959, this city spends far less on cultural activities than any of the other 38 cities surveyed. Our budget for the fine arts is only $16,000, as compared with New York's $2,600,000, Philadelphia's $824,000, and Baltimore's $448,500. Why, Hagerstown, Md., gives its Museum of Fine Arts $12,500, which is pro- vided out of its regular annual budget, only $3,500 less than the entire amount the Nation's Capital spends out of its more than $200 million budget. The Star says the Corcoran Gallery needs a little outside help. No, what it needs is inside help, and judging from Mr. McKelway's remarks about lack of heat, of air conditioning, and of peeling walls and canceled exhibitions, more than a little help is needed. Representative McDowell has introduced a bill to provide 1 miii out of each tax dollar for art and music programs. The bill is cosponsored on a bipartisan basis by Representative Carroll D. Kearns, Republican, of Pennsylvania; Repre- sentative John R. Foley, Democratc, of Maryland; and Senator James E. Mur- ray, Democrat, of Montana. Also, the intent of this bill has the support of a wide range of groups including the American Federation of Musicians~ the AFL- CIO, and even the Washington Board of Trade. The plan suggested in this bill is one currently in use in scores of cities where their appreciation of the value of their art galleries, museums, and symphony orchestras produces significant civic support and action. Why should not such help be sought, and given, by Washington, D.C.? We need not try to compete with the ancient capitals of Euroue and Russia. We are still in the process of making our world. But let us compete with our fellow American cities so we can take our proper place in the growing cultural life of these United States. HORTENSE AMBAM. The Star's Sunday feature article, "The Corcoran, at 100, Is Still Looking Ahead," is commendable, but the Corcoran Gallery should have been compared, not with the National Gallery of Art, but with the Nation's local, city-aided museums and galleries. The Star points out that the National Gallery receives a yearly grant from the Federal Government of $1,853,000. This is true, but information on the amount of financial support given local museums by U.S. cities would have been more apropos and significant-and helpful. Baltimore contributes $303,000 to the Walters Art Gallery; Buffalo gives $73A30 to the Albright Art Gallery; hicago gives the Art Institute of Chicago $232,405; Dallas gives its Fine Arts Museum $80,000; Houston its Museum of PAGENO="0157" AID TO FINE ARTS 149 Fine Arts $20,000; Kansas City its Nelson Art Gallery $21,211; Newark (N.J.) gives the Newark Museum $525,426; New Orleans gives its Delgado Museum of Art $40,000; New York gives the Metropolitan Museum of Art the. magnificent sum of $1,849,514; Norfolk gives its Museum of Art $69,083. Philadelphia gives the Philadelphia Art Museum $624,760; Pittsburugh gives its Arts and Crafts Center $25,000; St. Louis gives its Art Museum $320,007; San Diego gives its Fine Arts Gallery $57,159. San Francisco, with a population of 775,000, gives its three city-aided art museums a grand total of $658,891. Washington, D.C., with a population greater by 100,000 and one of the wealthiest cities in the United States per capita, doesn't give its splendid local art museums, such as the Corcoran Gallery, one red cent. The District of Columbia Commissioners have requested $10,000 for the Water- gate Concerts for the past 2 years and Congress has gladly appropriated this sum. There is every reason for believing that if the Commissioners requested an equal or greater sum for the Corcoran Gallery from local tax revenues Congress would gladly appropriate this also. It is high time the Commissioners displayed a concern for cultural matters at least equal to that of other U.S. city governing groups. WILLIAM A. GRANT, National Committeeman, Young Democratic Club of the District of Columbia. The VICE PRESIDENT. The bill will be received and appropriately referred. The bill (S. 2796) to provide for the adoption in the Nation's Capital of the practice common to many other cities in the United States with regard to cul- tural activities by depositing in a special fund 1 mill out of each $1 of tax rev- enue of the government of the District of Columbia to be used for the National Symphony Orchestra, the Corcoran Gallery of Art, and other nonprofit art pro- grams of the District of Columbia, and for other purposes, by amending the act of April 29, 1942, introduced by Mr. Humphrey, was received, read twice by its title, and referred to the Committee on the District of Columbia. Mr. TIio1~rPsoN. American artists, as citizens of a relatively youthful nation, have long carried on their activities under a considerable handicap. Many of their fellow citizens belittled the significance of the arts, and a good number of those who did view artistic creativity with respect looked across the ocean to Europe as the true home of western culture. Now, however, there are indications that we are moving into an era in which the American arts will be encouraged to flower in their own land. I believe that artists play a vital role in showing us the deeper meanings of our world and I approve of governmental acts which indicate the concern of the Nation for the artist and his work. A number of actions taken already by the Kennedy administration indicate that a view similar to mine is held by the President. The President invited Robert Frost to rea.d at the inauguratiOn ceremonies. (As Secretary of Interior Stewart Udall noted in an article in the New York Times magazine, Mr. Frost is the closest this country has to a poet laureate.) The President subsequently invited 150 distin- guished representatives of the arts to attend the inauguration as his personal guests. Then, earlier this month, White House Press Secre- tary Pierre Salinger called for the establishment of a White House prize for distinguished achievement in music and the arts. I, for one, heard this proposal with considerable enthusiasm and am awaiting with interest the report from the committee which is to study the matter. There are many ways in which the U.S. Government might under- score its support of the arts. PAGENO="0158" 150 AID TO FINE ARTS Artists' professional groups have long called for modification of the unfair tax laws, but so far nothing has come of it. Present law, for instance, forbids a writer from spreading the income earned on a com- mercially successful work over more than 3 years even if it is his only success and he has worked a lifetime on it. Oddly enough, the In- ternal Revenue Service has, in the past allowed the income from a book to be declared a capital gain (maximum tax of 25 percent) if the author shows he is not a professional writer. The proceeds of former President Eisenhower's enormously successful memoirs "Cru- sade in Europe," for insta.nce, were taxed in this manner. I have this year reintroduced my bill to create a Federal Advisory Council on the Arts. It is my feeling that this group could come up with some stimulating answers to the hard question of how govern- ment can best move to stimulate and support artistic endeavor. As government patronage of the arts come into being, we will be wise to bear constantly in mind the aims we are seeking to achieve lest we be detoured away from our objectives. I am a little worried that the National Cultural Center, the enabling legislation for which was enacted under my sponsorship in the House of Representatives, may now be heading for such a detour. When I backed the proposal I had in mind the constructiOn of a comparatively modest multipurpose auditorium here in Washington which could serve as a showplace for the performing arts, related traveling painting and sculpture exhibi- tions, and so on. But recent newspaper reports indicate that the committee appointed by Presideilt Eisenhow~r to bring the Center into being is contemplating something for more grandiose. The Center, under present plans, is far larger than the population of the metropolitan area of the Nation's Capital can reasonably or realisti- eally be expected to use. It will, in addition, require the destruction of worthwhile existing buildings. The Congress gave the Center a site almost as large as that of the Lincoln Center in New York City on which 6 major buildings will be located. I do not believe the addi- tional land called for in two Republican-sponsored bills before the Congress is needed, or that the powers of the Congress should be ex- erted to obtain it. Especially is this true when perfectly suitable theaters are being torn down in Washington to provide parking lots. Furthermore, the purpose and function of the Center, as set. forth in the present plan, is no longer entirely clear. I include at this point a number of items on the fine arts which will illustrate the ongoing programs of the Federal Government in the arts, and help document the need for further assistance to and support of the arts as provided in the bills under consideration today. (The items referred to follow:) [From the Congressional Record, Sept. 20, 1960) NATIONAL CULTURAL CENTER-PROGRESS REPORTS BY THE NA- TIONAL FEDERATION OF MUSIC CLUBS, THE NEW YORK TIMES, AND THE JOURNAL OF THE AMERICAN ACADEMY OF ARTS AND SCIENCES Extension of remarks or Hon. Frank Thompson, Jr., of New Jersey, in the House of Representatives, Thursday, September 1, 19~O Mr. THoMPsoN of New Jersey. Mr. Speaker, 2 years have elapsed since the 85th Congress, on August 22, 1958, enacted into law the National Cultural Center Act. PAGENO="0159" AID TO FINE ARTS 151 It seems little short of amazing that 2 years after Congress adopted, the National Cultural Center Act, and only 3 years before it is due to expire officials of the National Cultural Center have reached the point where they feel they must know what is to go into the center and what purposes it is to serve. The New York Times reported on July 31, 1960, that: "To aid them come to conclusions about what the center should offer, the ~trustees have engaged G. A. Brakeley & Co. of New York to interview several hundred persons on such questions as how' a national cultural center can encourage interest in the performing arts and what organizations should operate in the ceenter." Professor Arthur Schlesinger, Jr., of Harvard University, tells us there is no automatic virute in councils such as that which the Congress established to bring the National Cultural Center into being. Professor Schlesinger adds that: "After a protracted delay, President Eisen- hower named the 34 members of the' new [National Cultural] center's board of trustees. Of the whole group, only a handful had shown any evidence of knowing or caring anything about `the arts; the typical members include such cultural leaders as the former football coach at West Point. * * * His television adviser * * * . We ought to set up a Federal Advisory Council on the Arts èomposed, not of Presidential chums and other hacks, but of professional and creative artists and of responsible executives [museum directors, presidents of conservatories, opera managers, etc.]." It is widely known that a presidential assistant, Robert Hampton, who han- dles the work of the White House patronage desk, selected the people whom President Eisenhower later appointed to the National Cultural Center. When one looks at the tremendous success of the Lincoln Center of the Performing Arts in New York City, one is forced to conclude that part of the current troubles of the National Cultural Center are directly traceable to the White House patronage desk. I include as part, of my remarks a section of the legislative report of the National Federation of Music Clubs and an article from the New York Times: NATIONAL FEDERATION OF Music CLUBS REPORT OF NATIONAL LEGIsLATION CHAIR- MAN TO NATIONAL OFFICERS AND NATIONAL BOARD OF DIRECTORS (1959-GO) MEETING IN LOUISVILLE, K~. `NATIONAL CULTURAL CENTER The 10-acre Foggy Botton site selected for the National Cultural Center is too narrow and awkward for the architect's plan to build a vast edifice housing all the performing arts under a single roof. The Commission of Fine Arts has raised some fundamental questions ab'out the construction `of the overpow- ering Theodore Roosevelt `Bridge which might overshadow the cultural center' and render the site generally untenable. George A. Brakeley & Co. are interviewing top performing artists and art patrons throughout the Nation (to date 150 have been interviewed) on such topics as whether the cultural center should serve principally the city of Washington or the entire United States; how a cultural center can encourage interest in the performing arts; and what organizations should operate in the center. Carlton Sprague Smith, music division, New York Public Library, heads a panel of five currently checking reaction to the idea of a national cultural center. When survey work has been completed, the fund raising will begin with the initial appeal to foundations and great wealth, and a later appeal to the lesser wealth. Actual construction will `begin only when one-third of the required funds have been obtained. Still undetermined is the role Government should play in providing Federal guidance to the cultural center and whether or not Government should or will appropriate funds' to assist the work of the cultural center. What is needed realistically, practically, and noncompetitively: not the current $75 million grandiose' proposal, but one all-purpose, auditorium that could be constructed and endowed for $25 million or $30 million for use as a symphony hail where opera and ballet could be performed. Such a structure should be designed to permit desirable additions and improvements as adequate funds would be acquired. PAGENO="0160" 152 AID. TO FINE ARTS The fact that some appointments to the Advisory Council on the Arts have been people from fields of endeavor totally unrelated to the arts (a football player, for example), people who never at any time were even remotely aware of the numerous legislative proposals introduced and debated in the Congress for many years for a cultural center makes it not at all surprising that 2 years after congressional authorization to construct a cultural center, what should go into such a structure neither has been determined nor is understood. Mr. Robert Humphreys, staff director, National Cultural Center, recently informed your national legislation chairman of the appointment by Chairman Robert W. Dowling of National President Bullock to the Advisory Council on the Arts, official confirmation by President Eisenhower anticipated approximately September 15, 1960, 2 years after the enactment of the National Cultural Center Act (Senator J. William Fulbright and Representative Frank Thompson, Jr., sponsors), September 2, 1958. [From the New York Times, July 31, 1960] CULTURAL CnxTER-HAVE THE PLANNERS OF NATIONAL PROJECT PUT THE CART BEFORE THE HORSE? (By Ross Parmenter) Though it is still in the planning stage, the National Cultural Center has already had its ups and downs. One of its greatest ups came on September 2, 1958. That was the day Congress authorized the center and set aside 9 acres along the Potomac for its construction. But a down followed fairly ~uickly. Sherman Adams, President Eisenhower's assistant, was one of the center's god- fathers and his exit from the Capital meant a delay in the appointment of the necessary trustees. It was 5 months before the administration got the trustees named. Thereafter things moved fairly rapidly. Edward Durrell Stone, who designed the U.S. Pavilion at the Brussels World's Fair, was engaged to draw up plans for the center and a fundraising firm was engaged to promote it. Mr. Stone got to work and his plans were unveiled with a fanfare at a news conference in Washington on November 21. It was held in the office of Arthur S. Flemming, Secretary of Health, Education, and Welfare, who is the chairman of the center's board of trustees. The plans showed a series of great circles with the Potomac Parkway being bent back from the river so the center would be directly on the waterfront. FIVE HALLS Five halls were called for: an opera house seating 4,000, a concert hall seating 3,000, a playhouse seating 1,800, an auditorium seating 1,000 and another seating 500. All were to be under one roof, with a grand salon capable of seating 6,000 as an extra dividend. Shortly after the plans were announced, the center had another down. It dis~harged its fundraising firm. Now it is in a periOd of soni searching. One reason is that realistic appraisals have brought home the fact that the $25 million envisaged as necessary for the center 2 years ago is not nearly enough. Now it is seen that to get the center in operation will require closer to $75 million. Center officials feel that they will have to be a lot more definite about the kind of center they plan to create before they can start turning to the public with appeals for that much money. So far the center has had substantial funds available for planning, and it is estimated that about $200,000 has been spent to date. And at present there is no financial pinch-though the backers wish to continue anonymous. However, it is known that present financial support will not be sufficient to build the center, and the trustees are committed to a policy of private capitalization. Before they can turn to the foundations and to other sources of wealth for heavy support, the trustees feel they must have something clearcut to offer. Specifically, they feel they must know what is to go into the center and what purposes it is to serve. At present about the only major agreement is that the center, like the one proposed for New York's Lincoln Center, should be for the performing arts. Some feel that, in placing so much preliminary emphasis on the physical plant of the center, the cart has been placed before the horse. To aid them come to conclusions about what the center should offer, the trustees have engaged PAGENO="0161" AID TO FINE ARTS 153 G. A. Brakeley & Co., of New York, to interview several hundred persons on such questions as how a national cultural center can encourage interest in the performing arts and what organizations should operate in the center. There is hope that the Nation itself will engage in the discussion. Should the center contain, for instance, a national television center, which would operate in somewhat the same way as the British Broadcasting Corp.? Another burning question is whether it should serve principally as a cultural center for the city of Washington, or whether it should transcend Washington to serve the whole country? The role of the National Symphony in the center dramatizes this last ques- tion. If the center becomes the home of the Washington orchestra, it will be favoring a local orchestra over all the other orchestras of the Nation. Then there is the question: Are there enough audiences in Washington to go round for a performing arts program so much larger than the Capital enjoys at present. Carleton Sprague Smith, of the New York Public Library, who prepared a major report on the library-museum for Lincoln Center, has been engaged as one of the principal investigators for the national center. He has taken a forth- right position on the legislation setting up the center. "This public law," he has noted, "makes no mention of the national role the cultural center should play. It is a purely Washington operation. This nat- urally causes considerable resistance. Unless another law is passed that takes the Nation into consideration the National Cultural Center will not come into being." TOO GRANDIOSE Mr. Smith said it had also become evident from his investigations that most people in the arts feel that the presentplan of five theaters for the center was too grandiose. The feeling is that three would be enough. There is strong sentiment, too, for making each auditorium an all-purpose hall. That is, able to present concerts, operas, plays, and ballets. The capacities frequently suggested are 3,000, 1,800, and 1,000. The people of Washington~ showed their enthusiasm for the center in May. A dinner for the cause was announced. Within 2 weeks, even though the artisti to appear had not been revealed, the 700 dinner tickets were snapped up. And they cost $8.50 apiece. Having only the acoustically poor Constitution Hall for concerts and Lisner Auditorium and the Capitol Theater for other attractions, Washington certainly needs better playing facilities both for tout-ing attractions and for its own per- forming organizations. So the city stands to benefit greatly from a handsome center. Everyone feels, too, that better halls will cause more attractions to play in Washington. Lifting the cultural tone of the Nation's Capital would help the Nation. EspC- cially would it improve the impression of the Nation, made thrOugh its Capital, on representatives of foreign countriea. They in turn would transmit their views to their home countries. But many non-Washingtonians Mr. Smith had spoken to said they could not get very enthusiastic about any center in Washington un- less it truly served the Nation by stimulating the performing arts everywhere else. His own feeling is that it should he partly educational, that it should stir interest in the arts as well as providing a showcase for the best performing art that is available. But thisraises the question of what role the National Gov- ernment should play in providing Federal guidance. Ultimately, too, the ques- tion will arise as to whether the Government should or will contribute money to aid the center's work. Robert Humphreys, staff director for the center, expects the surveys to be com- pleted by the fall. A widespread campaign for money will start shortly there- after, with the first appeals going to the foundations and the great wealth. Then therewill be a shift to "lesser wea1th.'~ And it is expected that there will be no start on actual construction until at least a third of the needed money is in the till. Besides its trustees, the center. has an advisory committee. The committee includes Martha Graham, Helen Hayes, Herman D. Kenin, Howard Mitchell, Robert Montgomery, and Fred M. Waring. . 70259-61--il PAGENO="0162" 154 AID TO FINE ARTS [From the Washington Post, Sunday, May 14, 1961] FABULOUS INVALID'S ON CRITICAL LIST (By John Crosby) The theater truly is in an awful fix. Robert Whitehead, president of the League of New York Theaters, has said: "We truly believe that additional burdens will bring about the extinction of the living theater as we have known it, perhaps as early as next season." Them's strong words and the terrible thing is that they are terribly accurate. Whitehead's statement was made in an effort to get Mayor Wagner to elim- inate the city ~5-cent tax on tickets. It should be eliminated. But that would not help much. If the Government clamps down on the tax-deductible theater ticket, certainly if it clamped down on the charity tax deduction which is the theater party, the theater w-ould be really doomed. Even without these disasters, the Broadway theater seems headed for ex- tinction unless drastic changes are made-and tax eliminations won't help. Everything to do with the theater is too highly priced-playwrights, actors, stagehands (especially stagehands), musicians, property, scenery, lighting, the- `tter rent Ticket prices at S~7 17 foi straight ~hows and $857 foi musicals are outrageous but actually they're not half as outrageous as they ought to be for shows when straight dramas cost $125,000 and musicals cost $400,000. Nothing should cost that much. But it will continue to be outrageously ex- pensive to produce unless everyone from musicians to actors make sacrifices and this is about as likely as snow in July. Obviously, at current prices no one is going to take risks on Broadway and since risk and experiment are necessary-Eugene O'Neill's "Strange Inter~ lude Thornton 1~ ilder s Gui Tow n Rodgei s `md Hammerstein s Okia homa" w-ere all great risks that were immensely profitable-the theater is going to decline not only in vigor but in profits. Off-Broadway is not much better and costs, while far lower than Broadway, are still outrageous. I think genuine freshness and vigor and originality is going to have to come from out of town. All over the country, little theaters and some professional repertory theaters are springing up-thousands of them- all training actors and directors and amateur stage hands. But they're, all doing "Bus Stop.' Or "Seven-Year Itch.' There's hardly a theater in Amer- ica-except the Frank Lloyd Wright in Dallas, the Alley in Houston, or the Poinciana Playhouse in Palm Beach-doing new plays. This is a pity because new plays, far from the rapacity of Broadway unions, can be tried out for next to nothing. These littleplayhouses could nurture young playwrights as Joan Littlewood's Theater Workshop in England nurtured She- lagh Delaney and Brendan Behan. David Merrick has been using Paris and London stages as tryout towns for Broadway which is why Broadway is loaded with European plays, including all the best ones. It w-as not so long ago that it was the other way around-all European stages from Berlin to London were loaded with American plays. We are living in an age of increasing leisure time and the quality of our use of that leisure is going to be of enormous importance to our cultural growth. Are we going to be a Nation of time-wasters, turning on television to distract us until it's time to go to bed? I doubt that the country can stand this; in fact, I doubt that it puts up with it now. There's great cultural restlessness in America which is shown by the explosion of cultural activity from ballet com- panies to symphonies, concerts, little theaters, lectures, museums, across the country. Senator Javits has introduced a bill to establish a United States Art Founda- tion which intends, among other things, to canalize and encourage the living theater in all its forms and I think this should be adopted. The foundation is modeled after the British and Canadian Arts Councils which have given such sustenance to the theaters in those countrhn. Actually, the United States is the only civilized country anywhere which has given no governmental support to its theater or opera or arts. It has al- ways been felt that these things would flourish best if the Government stayed out of them. But spoken non-musical drama has almost expired already on Broadway. PAGENO="0163" AID TO FINE ARTS 155 [From the Congressional Record, Mar. 21, 1961] AN AMERICAN PRIZE FOR MUSIC AND ART Extension of Remarks of Hon. Frank Thompson, Jr., of New Jersey, in the House of Representatives, Tuesday, March 21, 1961 Mr. THOMPSON of New Jersey. Mr. Speaker, on March 8, 1961, the news- papers reported that Pierre Salinger, White House press secretary, at a lunch- eon of the National Symphony Orchestra, suggested the establishment of an American music or art prize. Great interest is being shown in this significant and worthy proposal, and it is being hailed as an historic step by civic and cultural leaders throughout~ our Nation. National prizes are well known abroad where they have made major cOn- tributions to the discovery, encouragement, and advancement of young artists and thus have served important national purposes. Young American artists should be similarly encouraged. and it is to the credit of this administration that steps are at last being taken along these lines. I am certain that my colleagues, from both parties, are ready to welcome this long overdue step and to assist this plan to become a reality without undue delay. I include as part of my remarks articles from the Star, and the Post of Washington, D.C.: [From the Evening Star, Mar. 20, 1961] MovE FOR ART, MUsIC PRIZES President Kennedy is very interested in establishing an American music and art prize, according to his press secretary, Pierre Salinger. Mr. Salinger said the President had asked him to explore the possibilities of such a prize and had put him in charge of preliminary plans. In a taped interview over WGMS yesterday, Mr. Salinger said that within the next 2 weeks a forming committee will be organized. He said the prize idea had received an overwhelming reaction and pledges of large amounts of money for the project have been received at the White House. Mr. Salinger first suggested such a prize during a National Symphony Orchestra sustaining fund luncheon earlier this month together with an idea borrowed from violinist Isaac Stern for a national youth orchestra. [From the Washington Post, Mar. 20, 1961] MUSIC-ART PRIZE GETTING Blo SUPPORT, SALINGEE SAYS Presidential Press Secretary Pierre Salinger said yesterday there has been overwhelming response~ to the idea of a White House-sponsored American music and arts prize and the project is going forward. Salinger said pledges of large amounts of money have been among the many conimunications received and within 2 weeks a forming committee will be or- ganized. He said President Kennedy is very interested. Salinger said also in a radio interview (WGMS) that there will be White House representation at the National Symphony Orchestra concerts, including the President and Mrs. Kennedy when their schedules permit. The idea for such a national prize was first suggested by Salinger at a National Symphony fund luncheon early this month. The press secretary is an accomplished pianist and has played many concerts. [From the Evening Star, May 8, 1961] PIERRE SALINGER SUGGESTS U.S. MUSIC OR ART PRIZE (By Daisy Cleland) Mr. Pierre Salinger, press secretary to the President, made a plea for music and the arts yesterday when he spoke at the National Symphony Orchestra's fund raising report luncheon. PAGENO="0164" 156 AID TO PINE ARTS The speaker called for two means in which he felt the youth of this country would benefit in the field of culture and in turn benefit the country. The first he mentioned was "regional youth orchestras," which as "farm teams" would eventually "feed our national orchestras." FOREIGN ASPECTS Mr. Salinger said that a program of this kind could even reach abroad. This could be done with European tours of the youth orchestras which could stimulate interest among the youths in the countries visited. The other suggestion Mr. Salinger had was the establishment of an American music or art prize. However, he added, "I think for it to be effective it would have to be under the auspices of the White House." Mr. Salinger foresaw in this latter suggestion that because the winners would come to Washington for proper recognition "there could focus a great deal (world- wide) of attention on this." The speaker stressed, "I don't think America should be on the defensive about its music and its culture." Mr. Salinger, who is a pianist in his own right, talked of "music and what it meant to me in my own life." He started to study the piano when he was 5 years old, and said that he came from "a very musical family." The personal experiences of meeting and hearing Rachthaninoff ("every time he came to San Francisco he was requested to play the `Prelude in C Shari) Minor,' and he hated it"), Stern, Yehudi Menuhin and Rubinstein made the speaker "remember as a boy the vista of music open up to me." He added that after listening to Brahms, "Mindemith, and Ravel," "a kind of world opened to me, which I hope would be opened to others." CHILDREN AND M~5IC In stressing that he felt music was an important part in growing up, Mr. Salinger said, "They (children) should at least have the opportunity of hearing music as a child." The press secretary added, "So many people go through life with a plug in their ear." A surprise for the luncheon guests came when Mr. Salinger sat down at the piano after speaking, and played one of his own compositions. The piece is nameless, he said, and was composed when he was 15. An interesting note is that Mr. Salinger first started to study in Toronto, Canada, when his family moved there. His teacher was then Clement Hambourg at the Toronto Conservatory of Music. Mr. Hambourg has now gone into compositional jazz, and is running a gaslight club, according to Mr. Salinger. A reunion will take place shortly between the teacher and student. Mr. Sal- inger said that he is going to Toronto on April 8 to speak at the Canadian National Newspaper Awards dinner, and that Mr. Hambourg had planned a concert for him. Mrs. Dean Rusk, wife of the Secretary of State, was the guest of honor at the luncheon, and although not scheduled to speak, did ask to say a few words at the end of the reports. She said that "it is exciting to come back to Washington after 10 years, and I am very moved to see your program." [From the Washington Post, Mar. 8, 1961} SALINGER NoTEs NEED IN LT.S. Music (By Marie McNair) Presidential Press Secretary Pierre Salinger, who could get a job with the National Symphony Orchestra any time, thinks the White House should estab- lish an American music or art prize that would be sought by artists on a world- wide scale. Before sitting down to demonstrate his own keyboard talents which once made him a child prodigy at the piano, the versatile Salinger told a luncheon meeting PAGENO="0165" AID TO FINE ARTS 157 of the National Symphony fund raisers yesterday that his proposed award would "be an affirmative step in the cultural field." Financing would come from pri- vate sources. Salinger stressed that his award proposal is still in the idea stage, and he did not indicate whether the project has been discussed with President Kennedy~ The prize should not be any ordinary prize, he said, but One with prestige enough to be sought by artists throughout the world. He laments the fact that so many Americans never have the opportunity to know music, and he feels education in both music and art should begin with children. "It is said that. in this country, in spite of the great opportunities, such a small percentage of the people know and understand music, compared to the people of Europe," he said, adding: "So many people go through life with a plug in one ear." Salinger's own performance at the piano was a composition he wrote at the age of 15. It was a moody, Gershwin-sounding piece of music he never gave a name. Salinger was the speaker for the occasion. Mrs. Dean Rusk, wife of the See- retary of State, was a special guest, and had been told she didn't have to speak. But she became so enthusiastic that she couldn't restrain herself. She got up and told the workers what a privilege it was to be there and to represent the Secretary of State and his coworkers. "It's very exciting to back here after 10 years," she said, to "find how magnificently the symphony's program has de- -veloped." The President's press secretary began studying music when he was 5 and for a time it was thought he might become a concert pianist. He gave it up, how- ever, when he was 12 years old. Music has continued to play a part in his life and he told his audience yes- terday that he's in favor of establishing a national student orchestra with teams throughout the country. They would tour the United States playing on college campuses and later possibly visit colleges in Europe. * ~From the New York Times, Monday, Dec. 8, 1958] U.S. ROLE IN THE ARTS Is FOUND To HAVE INCREASED IN DECADE SINCE WORLD WAR II (By Milton Bracker) In Washington, a bill authorizing a National Cultural Center has been ap- proved by Congress and signed by the President. The 9.4-acre site is there and some day-if about $25 million in private funds can be raised within 5 years- the building may be. In another part of the Capital a white-haired New Englañder (who happened to be born in California) is paid by the Government to serve as consultant in poetry to the Library of Congress. His name is Robert Frost. He remarked with hearty irony in an interview that "I'm there chiefly to thank the Govern- ment for recognizing our existence." In New York, preparations are being completed for the departures on January 13 of the San Francisco Ballet for the Near East; on January 17 of the West- minster Choir for Africa; and on February 23 of the Little Orchestra Society for the Far East. AIDED BY STATE DEPARTMENT All will be backed by State Department funds, administered by the Interna- tional Cultural Exchange Service of the American National Theater and Acad- emy. ANTA-like the American Red Cross-is a private body holding a charter from Congress. In St. Louis-at the city art museum-a show of American painting of the last 25 years is being assembled for a tour to open in Italy next September. About 25 artists will be represented, in what one non-Government expert de- scribes as potentially the "most important exhibition of American art to go abroad under Government auspices." This is a venture of the U.S. Information Agency. In New Delhi on January 5, a new U S. chancellery will be dedicated. It is a spectacular example of the work of amodern American architect, Edward Durell Stone, who was commissioned by the State Department through the Office of Foreign Buildings. PAGENO="0166" 158 AID TO FINE ARTS ANCIENT RELATIONSHIP These disparate activities and hundreds of others have as a common denom- inator the ancient relationship between the Federal Government and the arts. As it exists in the United States, the relationship is virtually impossible to delineate sharply. Yet every time an American passes a coin or puts a stamp on a letter he is touched by it. Overall truths of the relationship are hard to extract. But a month's look into many phases of it suggests the following: There is no nationally backed opera like La Scala; no subsidized ballet like the Bolshoi; no state orchestra like the Vienna Philharmonic. Nor is there a central department or agency through which art matters are channeled. Within a given field-music, for example-even well-informed leaders are likely to con- front each other with "Oh, you mean the other committee," when discussing the myriad Government subdivisions that back one or more musical projects. In recent years, impelled, according to some opinion, by the example of the dictatorships, this country has placed a strong emphasis on the promotion of art for export. This is often noted wryly by artists who would like to see their own particular art subsidized, or at least assisted, for domestic consumption. There is no doubt that the whole question of Government and the arts has tended to narrow into the question of the use of art as an instrument of the foreign policy of the United States in the cold war. No matter what the Government does or does not do in relation to the arts, it is subject to a barrage of pros and cons. These concern the fear of censorship or control; the possible sponsorship of subversive art; the timeless dispute be- tween conservatives and modernists in any art medium; and the individual or group equities of artists competing for commissions. PARADOX AND CONTROVERSY And the whole subject is fraught with paradox, misunderstanding, and controversy. In Chicago, a Government subsidy amounting to about $16,000 was announced by the hard-pressed Lyric Opera Co. But the Government that made the subsidy had its seat not on the Potomac but on the Tiber. The grant, in lire, was to be used largely for travel expenses~ incurred by Italian singers hired by the Chicago company. The triumph of Van ~liburn at the Tchaikovsky piano competition in Moscow last May is still commonly held to have been made possible by Government back- ing. Actually, the funds came from private sources. The Government contribu- tion was a passport. As for controversy, it has ranged from the political inclination of an individual artist to the design of a 3-cent stamp honoring the American poultry industry; and from the shape of a memorial on a distant beachhead to the recurrent ques- tion of whether there should be a Department of Fine Arts. Abram Chasms, in "Speaking of Pianists," remarks: "American artists and intellectuals are the natural enemies of American politicians." INCREASED LEGISLATION Whether this is the case, the fact is that legislation by "politicians" presum- ably for the benefit of "artists and intellectuals" has tended to increase during the past decade. The pages of the Congressional Record are ripe with tributes to one or more of the Nine Muses, although the rhetoric has not been enough to forestall the death of most of the bills introduced. In his state of the Union message in 19~5, President Eisenhower asserted that the "Federal Government should do more to give official recognition to the im- portance of the arts and other cultural activities." He also proposed a permanent Federal Advisory Commission on the Arts, to come under the Department of Health, Education, and Welfare. In one form or another, this idea had been-and is-backed by large numbers of individual artists and their organizations. It was-and is-opposed by a few. The proposal was passed by the Senate but died in the House. More recently there have been renewed proposals for a Department of Fine Arts, headed by a leader of Cabinet rank for an Assistant secretary of State for Cultural Affairs; for a U.S. Art Foundation and a National Theater. PAGENO="0167" AID TO FINE ARTS 159 CULTURAL AID NAMED Some of these recalled the Pepper-Coffee bill of 1938, for a Bureau of Fine Arts, or even older proposals. Some are sure to be introduced in the 86th Con- gress. It was announced yesterday that Robert H. Thayer, former Minister to Rumania, had been appointed special assistant to the Secretary of State for the coordination of international, educational, and cultural relations. Representative Frank Thompson Jr. of New Jersey is one of the most active legislators in the field. Cynics dub him a "culture vulture." The fact remains that Mr. Thompson and senatorial cosponsors have pushed some significant projects over all the usual obstacles into law. These include the International Cultural Exchange and Trade Fair Participa- tion Act of 1056, which covered the Brussels Fair; the bill to establish a new na- tional art, repository in the old Patent Office Building, and the bill for the Na- tional Cultural Center. The cosponsor of the first of these was Senator Hubert H. Humphrey of Mm- liesota. It authorized on a permanent basis funds for,the cultural presentations program that had been established in 1054 following a special request by Presi- dent Eisenhower to Congress. ATTRACTIONS TO 89 LANDS This has meant that in 4 years, 111 attractions-ranging from Dizzy Gillespie to the New York Philharmonic; and from Marian Anderson to "The Skin of Our Teeth"-have been sent to 89 countries. This is the program directed by Robert C. Schnitzer of ANPA, who observes that every so often some Congressman phones him to urge the booking of the "Flathead County Glee Club." Such pres- sure on behalf of hometown talent (and voters) has also been brought to bear on the office of E. Allan Lightner, Jr., Deputy Assistant Secretary of State for Public Affairs. ` . But the criterion remains "quality, quality, quality," according to those close to Mr. Lightner. And Mr. Schnitzer says that after he explains the rigid standards of the selection panels, the Congressman invariably recedes'without even threat- ening to have the whole program canceled. Its 1959 allocation is' $2,415,000.' A single intercontinental ballistic missile cost $2 million. Last March 28, the bill to save the Patent Office Building for an art museum became law. It was backed by Representative Thompson and Senators Humphrey ,and Clinton P. Anderson of New Mexico. The works to be housed in the Par- thenon-like structure at Seventh and F Streets include the National Collection of Fine Arts, now in the' Smithsonian Institution; a national portrait gallery, and a contemporary art program. IN AN ARTISTIC LANDMARK The Patent Office Building was designed by Robert Mills, who did the Wash- ington Monument. For nearly 125 years it has been one of the capital's artistic edifices. But this is not to say that the measure sparing it from being torn down for a parking lot has `automatically satisfied all those who would like to see the National Collection of Fine Arts in a home of its own. The measure came as the culmination of a long and involved controversy over another site-on the Mall, near the Smithsonian. This was ardently de- sired, and ultimately obtained by proponents of the National Air Museum. The latter is temporarily housed in the Smithsonian, too. The director of one of the country's greatest museums says that the best that can be said of the Patent Office Building is that "There are walls standing." If it is to serve as a show- place of fine art, he added, "they've got to renovate the whole thing." On the other hand, Representative Thompson says he has been assured by experts that the conversion is "entirely feasible." It would be paid for by the General Services Administration. But for the moment, the plan is in abeyance. The Civil Service Commission has occupied the Patent Office Building since 1932, when the Patent Office moved to the Department of Commerce. The Civil Service Commission is scheduled to move into a new building of its own, but the building is not yet built. PAGENO="0168" 160 AID TO FINE ARTS SITE FOR ENTERTAINING Thus the transfer of the National Collection of Fine Arts remains indefinitely in the future. But a large floor plan of the Patent Office Building is already on the desk of Thomas M. Beggs. Director of the National Collection. He is think- ing ahead, even though he knows be will have to be patient. The National Cultural Center, authorized by law September 2, would sym- bolize the Nation's official interest in the arts and give the President a place to entertain foreign visitors in a setting identified with both the visual and the performing arts. As cosponsored by Senator Fuibright and Representative Thompson, the act sets up a board including the Secretary of Health, Education, and Welfare and 15 general trustees. These have not yet been appointed. Eventually, there would also be an Advisory Committee on the Arts-similar to the one so often proposed-made up of specialists in the fields of art covered by the center. The site is bounded by the Inner Loop Freeway, the Theodore Roosevelt Bridge approaches, Rock Creek Parkway, New Hampshire Avenue and F Street in the sector called Foggy Bottom. But apart from obtaining the site, the Government has so far done nothing to implement the project. And by the act's own terms, it will come to nothing if "the Smithsonian In- stitution does not find that sufficient funds to construct the National Cultural Center have been received within 5 years." BOWLING TO PRESS PROJE~P Once the trustees are appointed, Robert W. Dowling, chairman of the board of ANTA, is likely to~ take a leading role in seeing to it that the act does not come to nothing. "I have been rooting for this [the. cultural center] for a long time," he said. He has felt that if the Government would give the land, private citizens should give the money. New legislation apart, the Government's continuing activities in the arts can best be outlined under four headings. These are international exchange, the design and decoration of public buildings, Government collections, and coins and stamps. The four are obviously not all-inclusive. For example, the chamber music programs at the Library of Congress fit none of them. But most activities can be conveniently covered by the four. The patronage of artists for the design and decoration of public buildings, the minting of coins, and the issuance of stamps, goes back to the earliest days of the Republic. The Government role as a collector began somewhat later. The depression and the New Deal brought into being a new and still contro- versial concept, the use of Government funds not so much to commission specific art works as to support unemployed artists. This led to inevitable disputes over the supposed leftist propaganda painted on Government walls by artists on the Federal payroll. As pointed out by Clarence Derwent, chairman of the National Council on the Arts and Government, the New Deal arts projects, "while productive of much fine work, fell short of the full recognition of the value of the arts to society because of the public relief aspects of the program." Since World War II the emphasis has shifted to the utilization of the arts as an arm of diplomacy. The aim is candidly asserted: to promote competively the free creative tendencies of a nation long accused of letting its capitalist ideology cramp artistic expression. AMERICANS' NEW SIDE As William Benton, former Assistant Secretary of State for Public Affairs, put it in the early stages of the program, it was to show that Americans, "ac- cused thrOughout the world of being a materialistic, money-mad race, without interest in art and without appreciation of artists or music, have a side in our personality as a race other than materialism." Or, as Mr. Schnitzer put it more recently, with regard to the performing arts, "It is propaganda-in the best sense. We are saying, `Here are some artists whose work we enjoy' and we hope you'll enjoy it, too." Actually, the State Department's Division of Cultural Relations dates to July 28. 1938. Three years later the first cultural officers were assigned to American diplomatic missions. In 1946 a major step was taken with the passage of legis- lation presented by Senator J. William Fuibright, Democrat, of Arkansas. Be- PAGENO="0169" AID TO FINE ARTS 161 coming operative in 1948, the Fuibright plan draws on foreign currencies owed to or owned by the United States, chiefly for war surpluses, for a cooperative program of educational exchange. - Two exhibitions jointly called "Fuibright Painters," currently crossing the country, indicate how this program may operate to the benefit of individual artists. The shows are made up of samples of the work of candidates who qualified under the -Fuibright Act to pursue their studies abroad. TOURS BEGAN IN OCTOBER One of the exhibitions opened at the Whitney Museum of Modern Art here on September 17. Both sections began tours in October. These were organized by the traveling exhibius service of the Smithsonian Institution in cooperation with the Institute of International Education. By contract with the State Depart- ment, the lIE administers the Fulbright student exchange. Here is a case, then, where a Government program has artistic implications both abroad, where the artists studied, and at home, where their work is being shown. The Fulbright scholarships cover all fields of study and that the paint- ers represent only a small fraction of those who win them. On the most sensitive level of exchange, in view of current East-West rela- tions, there is the new status for American artists visiting the Soviet Union af- forded by the agreement announced in Washington last January. This was signed by the State Department's William `S. B. Lacy and the Soviet Ambassador at that time, Georgi N. Zaroubin, who died on November 24. The accord did not initiate exchanges between the United States and the U.S.S.R. but facilitated them and gave them new importance. Long negotia- tions by Sol Hurok to bring the Moiseyev dancers here and preceded their ar- rival, after the conclusion of the Lacy-Zaroubin agreement. Similarly the "Porgy and Bess" company had reached Moscow on its own: Emil Gilels and David Oistrakh had played here; and the Boston Symphony went to Moscow in 1956 under the President's program as run by ANTA for the State Department. But whereas the ANTA artists had only a "foot in the door" before the accord, according to one spokesman, the pact "opened the door wider" and gave official recognition to the visit of the Philadelphia Orchestra last May and June. This tour also had already been arranged when the accord was reached. But its auspices were enhanced by the new diplomatic understanding. On the other hand, some cultural exchange experts see in the Lacy-Zaroubin accord an implicit quid pro quo that they regard as restrictive. These sources- within the State Department-feel that a generally freer and broader exchange is more to the point than a 50-50 balance of trade in terms of traveling artists. Distinct frOm the State Department's direct role in the exchange program, there are the manifold activities of the U.S. Information Agency. Since 1953, USIA has had a major responsibility in the presentation of varied aspects of American life abroad. This takes in the dissemination of both live and recorded music. For exam- ple, the Symphony of the Air not only played in Tokyo; a film of its tour has been popular on Japanese television. The entire Voice of America program comes under USIA and "Music U.S.A." is broadcast 7 nights a week, 52 weeks a year. ART SHOW IN TURKEY Meanwhile, the fine arts section of the Exhibits Division of the Agency, has a show called "Nine `Generations `of American Art" in Turkey. Another show, "Twentieth Century Highlights of American Painting," involved the distribu- tion of forty color-reproductions virtually all over the world. USIA has also arranged small oversea shows of ArnOrican serigraphy (silk screen art) and stained glass. In prospect are .an exhibition of prints being assembled by the Brooklyn Museum, due to go abroad in March or April, and the collection of modern painting being assembled by the City Art Museum of St. Louis. - ` ` , The pertinent background fact in connection with the latter project is that early in 1956, USIA withdrew sponsorship of three collections of paintings that were to have been sent abroad.. The trouble started with denunciation of a show called Sport in Art by the Dallas Patriotic Council - This raised a flurry over -"subversive" art ~and underlined the vulnerability of Government to political criticism whenever it was the `sponsor of art activities. PAGENO="0170" 162 AID TO FINE ARTS Although there remain 9 months before the St. Louis collection starts on its way, such criticism is not expected this time. A museum man associated with the choice of some of the paintings said, "I've been assured that there will be no censorship." An interested official of USIA crosses his fingers when the question is raised. The general implication is that the tensions of the period associated with the late Senator Joseph B. McCarthy, Republican, of Wisconsin, have been eased. But Government endeavor in any field of the arts remains subject to attack at almost any moment. The design and decoration of public buildings is a timeless function of govern- ment~ On November 23, the General Services Administration announced selec- tion of a site west of Foley Square for what will be the largest Federal office building outside the District of Columbia. Recently, there has been increasing awareness that American buildings abroad could symbolize the best of the contemporary American tradition. Assignments to architects are made through the Office of Foreign Buildings of the State Department. The Department is completing the 5th year of a 10-year; $200 million program involving new embassies and consulates on four continents. There is an advisory committee of three leading architects appointed on a rotational basis. The Department also has on hand about 800 brochures from architects. It makes its selection on the basis of the advice of the committee, on what it knows of the other architects, and on the~ special conditions applying in the country where the building is to be erected. Thus Mr. Stone was commissioned to do the New Delhi chancellery. He was also architect of the U.S. pavilion at the Brussels Fair. In the case of the new Embassy in London, a different technique of choice was used. The Department arranged a competition among eight American architects and a seven-man jury chose Eero Saarinen of Michigan, as the winner. An important agency, particularly with regard to public monuments and sculpture, is the Commission of Fine Arts, dating to 1910. When Congress created the American Battle Monuments Commission in 1923, it was provided that any design or material for a memorial bad to be. approved by the Commis- sion of Fine Arts. MINISTRY WAS OPPOSED Moreover, pursuant to a Presidential request of January 1951 the Commission was the agency chosen to make the first and only survey of all the Government's activities in the field of art. The report was submitted in 1953. In an introduc- tion, preceding excerpts from testimony of all Government agencies involved, the Commission said: "It is a source of the deepest satisfaction to members of the Commission that here in this fortunate country we have freedom to choose what seems most worthwhile in the cultural life of our time, and that the artist, in creating works of art, is free to express his own inner convictions without compulsion on the part of the State or other outside forces. - "Here we have no centralized control of art activities on the part of the Government, such as exists in many other countries." And the Commission went on to oppose efforts to create a Ministry of Fine Arts or to combine "in a single bureau art activities now carried on effectively in a number of Government agencies." Nevertheless, the Commission-headed since 1950 by David E. Finley, who was until 1956 also Director of the National Gallery of Art-is occasionally charged with exercising arbitrary influence. It has been asserted that the seven-man unit has a stranglehold on the design and decoration of all Federal buildings and monuments in Washington, and on the design of battle monuments anywhere. Critics of the Commission have insisted that it hews to an academic line and has facilitated commissions for the generally conservative members of the Na- tional Sculpture Society as against nonmember sculptors. A Commission source, aware of such charges, points out that since not only authorization, but also appropriation, for any monument stems from Congress, it is to be expected that the Commission's advice should follow "conservative" lines. One thing rarely said of Congressmen, the source suggests, is that they are personally inclined toward advanced tendencies in art. Nevertheless, the supposed grip of the National Sculpture Society on Govern- ment commissions invariably comes up whenever the larger question of the Government and the arts is raised. PAGENO="0171" AID TO FINE ARTS 163 AGAINST CENTRALIZATION From 1951 to 1954, the society was headed by Wheeler Williams, who since 19~7 has been president of the American Artists Professional League. Both groups strongly oppose any centralization of GOvernment art activities. In a leaflet called "War Cry," the league declares, "We must continue our battle to see that art is not socialized under political bureaucracy." The society and the league remain firmly aloof from groups like the Committee on Government and Art, and the National Council on the Arts and Government. These have backed legislation pointing toward a permanent advisory council for the arts. According to Adlai S. Hardin, president of the National Sculpture Society, "The minute there comes a [Federa]j bureau with a capacity to advise, some freedom is going to be dissipated." The Committee on Government and Art, founded in 1948 and made up of representatives of 12 national organizations, including the younger and less influ- ential Sculptors Guild, declared in a statement of principles on May 25, 1956: "We believe that governmental art policies should represent broad artistic viewpoints, and not the predominance of any particular school or schools. "In order to aid in making available to the Government the best experience and knowledge of the art world, we believe that there should be advisory bodies composed chiefly of professionals in the respective fields; and that art organiza- tions in these fields should have a voice in nominating the members of these bodies." SEVEN FIELDS REPRESENTED The National Council on the Arts and Government consists of individual rep- resentatives of seven major art fields. In general, it has `been alined with the position of the Committee on Government and Art, whose chairman is Lloyd Goodrich, of the WhitneyMuseum. Government art collections, which symbolize the Nation's official interest in the preservation and formal display of accrued treasures, include the National Gallery of Art, the National Collection of Fine Arts, and the Freer Gallery. In his invaluable "Government and Art," Prof. Ralph Purcell writes that it was not until 1906 that the Government began its role as a collector. He notes that when the British burned the Capitol in 1814 the only two paintings owned by the United States-gifts of Louis XVI-were destroyed. In 1906, a group of paintings known as the Johnston collection was given to the Government by Harriet Lane Johnston, niece of President James Buchanan and mistress of the White House during.his administration. The condition was that the small but valuable collection should be placed in a National Gallery of Art, when one was established. Professor Purcell recounts how a "friendly court action was instituted to determine if the art collection already `in the Smithsonian Institution would legally constitute `a `National, Gallery of Art." ` The court ruled that it would. Thus the early, Smithsonian collection, en-, banced by the Johnston gift, was newly constituted as the National Gallery of Art. Oddly enough, the art in the `Smithsonian was to lose that title after all. In 1937, when the Mellon collection became the Nation's foremOst, the title was transferred to it. The National Gallery of Art now comprises the original Mellon bequest and. subsequent additions. The Smithsonian art was renamed the National Collection of `Fine Arts. It is the art that is to be housed in the old Patent Office Building under the recent legislation. Pending settlement in its new home, the National Collection has about 500 portraits and pieces of sculpture `on loan to public buildings, including the White House and the chambers of the Chief Justice. The Freer Gallery of Art, devoted principally `to oriental fine arts and the works of Whistler, was the gift of Charles L. Freer in 1906. The gallery was not built until 1920; and the `collection was opened to the public as a unit of the National Collection of Fine Arts. The Freer Gallery is administered by the National Collection, of which it is considered a unit, and does not have a separate board of trustees, like the National Gallery of Art. PAGENO="0172" 164 AID TO FINE ARTS MEDALS IJNDEE MINT Coins and special medals come under the Bureau of the Mint. By law, no Tegular coin may have its design changed more than once in 25 years. The mint ~trathtional1y opposes commemorative coins, although not always successfully. When a piece of medallic art is authorized, the mint may commission an artist ~directly, have a small competition (as with the Washington quarter in 1932), or a nationwide one (as with the Jefferson nickel in 1938). It may also utilize its own artists. This it prefers, particularly in the case of coins, where distribution of the design and maintenance of rims higher than the design's highest point are technical essentials. The commission of Fine Arts acts in an advisory capacity to the mint. But the Director of the Bureau is ultimately responsible for the project, subject only to approval by the Secretary of the Treasury. STAMP AI~T IMPROVED The situation with stamps is somewhat different because of the vast and stead- ily increasing interest in U.S. commemorative issues. For many years, these were subject to strong criticism from philatelists, particularly as compared artis- tically with certain foreign stamps, such as the French. On March 20, 1957, a seven-member Citizens' Stamp Advisory Committee was established. It has `three artist members. Final decision on a new stamp rests with the Postmaster General. `Philatelic and art circles generally agree that the pictorial quality of the commemoratives has tended to improve, although: contro- versies over individual stamps continue. And, indeed, the controversies continue over virtually every phase of the com- plex Government-Arts relationship in a democracy whose Puritan intellectual heritage started it off with what has been called (by John A. Kouwenhoven, among others) an antiesthetic bias. Mr. THOMPSON. We have with us this morning the Honorable Adam C. Powell, chairman of the Committee on Education and Labor. Mr. Chairman, we will be glad to hear from you at this time. STATEMENT OP HON. ADAM C. POWELL, A REPRESENTATIVE IN CONGRESS PROM THE STATE OP NEW YORK AND CHAIRMAN OP THE COMMITTEE ON EDUCATION AND LABOR Mr. POWELL. Chairman Frank Thompson, and members of the subcommittee, I want to add my voice in support of the fine arts bills which are being considered here today and to pledge to you whatever support I am able to give to secure their speedy passage through the committee, and through the House. I have been very impressed by the caliber of the witnesses here today. I Imow, that had we had more time to organize the hearings, that we could have had many more witnesses here to urge favorable sup- port for this legislation. Certainly, these bills do not lend themselves to partisan manipulation. In 1955 President Eisenhower called on the Congress for the estab- lishment of a Federal Advisory Council on the Arts. In the campaign last fail, both presidential candidates, Mr. Nixon and Senator Kennedy, both called for `the establishment of, a Federal Advisory Council on the Arts. In answer to a. question on Federal financial aid to the arts `asked by Actors' Equity Association, President Kennedy said: I am in full sympathy with tho proposal for a federally supported foundation to provide encouragement and opportunity to nonprofit, private and cii~f~ gi~ouj.J~ in the performing arts. When so many other nations officially recognize and PAGENO="0173" AID TO FINE ARTS 165 support the performing arts as a part of their national cultural heritage, it seems to me unfortunate that the United States has been so slow in coming to a similar recognition I would like to review some of the highlights of the statements made here today by the distinguished witnesses before this committee. Mrs. Jouett Shouse, chairman, President's Music Committee, peo-. pie-to-people program, USIA, a trustee of the National Cultural Cen- ter, and a vice president, National Symphony Orchestra, thought there should be a Cabinet-level post for the arts, and supported the bills before your committee today as a step in that directlon. Such a Council on the Arts, she said- could be very influential in influencing (art) programs and appropriations in the States, I would think, by showing the need for music education. Mrs. Shouse, a member of the Board of the powerful American Symphony Orchestra League, said that- some of the States are reducing the amount of their appropriation, for the study of music. She was rightly concerned about this development. * Herman Kenin, president, American Federation of Musicians AFL-CIO supported both ETR. 4112 and H.R. 4174 very strongly. Said Mr. Kenin: What, other than its physical safety, is more important to the survival of a nation than its culture? Why is it that America stands almost alone among the major powers in persistently ignoring this fact of life? We ignored it here at home even while our Marshall plan dollars were being used by beneficiary nations to nurture their own national arts. We continue to ignore it. today when it has been demonstrated that our best ambassadors abroad have been from the thinning ranks of those who speak in the universal language of music. Mr. Kenin called attention to a recent survey made by the Library of Congress of State support for the arts. Mr. Kenin declared, and I.quote: Forty-seven of the fifty States responded to the question of. how much, aid is given to the arts. The summary, printed in the . February `2 Congressional Record, is shocking.. In all of the 47 States only $202,825 was devoted to music. Only six States made any contribution whatever specifically to music. Mr. Kenin said part of the trouble was that the word "subsidy" engendei s fear that Government dollars foreshadow Government con- tr~l He declared that this is a "strawman th'tt history belies in this country `Lnd all other countries outside the Iron Curtain" * Mr. Kenin went on to say that: Subsidy in some' minds, conjures visions of a move toward something un- American. Nothing could be further~ from the truth. The Homestead Act did much to settle these United States; land grants. to the railroads helped make us the greatest industrial Nation; airlines, merchant marine, and science' sub- sidies contributed to this Nation's mighty sinews. In the field of commerce, subsidy is accepted as sound fundamental Government policy. `But, in the c~ultural field, it is somehow transmuted into something evil. When Government supports libraries, museums-even pays to preserve the whooping crane from extinction-why then is there objection to subsidy vitally needed to prevent'the extinction of the career musician? . Dr. Thomas Gorton, president, National Association of Schools of Music, and director of the school of fine arts at the University of K'Ens'Ls, made the point that Oui composers do not generally recen e remuneration sufficient for a liveli lirod. but' must engage in their creative work in the hours after the day's bread and meat have been won through other jobs. PAGENO="0174" 166 AID TO FINE ARTS Dr. Gorton said that the heads of the Nation's music schools were heartened by such recent events as the recommendation by the Prèsi- dent's Commission on National Goals that the importance of the arts in our national life be recognized, and urged the Congress to concern itself with the problem of broadening the basis of our cultural activities. This, incidentally, is what has been taking place here today by this subcommittee. Dr. Gorton pointed out that the National Music Council, which represents the entire field of music in the United States, adopted a resolution on January 5, 1961, which declared: That if the United States is to maintain and improve its world leadership, to increase its prestige in international relations, and most important, to improve the cultural opportunities for our own people, it seems clear that the Federal Government must assume a greater interest in and a greater responsibility for the further development of the creative arts and the humanities. Dr. Clifford Buttleman, spokesman for the 36,000-member Music Educators National Conference, the music department of the Na- tional Education Association, called attention to the support of the fine arts by the Soviet Union which goes forward at the same time as does support for science. Dr. Buttleman included a lengthy report on "The Arts in the Edu- cational Program in the Soviet Union" prepared by Miss Vanett bawler, who visited that country under official auspices of the TJ.S. Government. Miss Sally Butler, Director of Legislation for the 5-million-mem- ber General Federation of Women's Clubs urged that qualified peo- plo be chosen to head up the Government's art programs which H.R. 4172 and H.R. 4174 would establish. She declared that high- quality appointm~nts be made from among people and organizations "vitally interested in the arts and in service t.o our country in an informed, intelligent manner." Said Miss Butler: We want to preserve the culture of our historic past as well as to make it possible for the present and future generations to develop the cultural arts in our country. The drama critic of the Washington (D.C.) Post, Richard L. Coo declared that- some action must be taken to stem the tide of general ignorance which is sweeping over the landmarks of man's past. Some ways must be found to combat the superficial, easy, misleading, dangerous values which result from * too much communication in a time of increasing leisure. And, because private sources and leaders are either unable or unwilling to cope with the problem many of us feel it falls to the Government to initiate action. Mr. THOMPSON. Our next witness is the Honorable Carroll P. Kearns of Pennsylvania. Congressman Kearns is the ranking mi- nority member of the full committee, and is a doctor of music. STATEMENT OP HON. CARROLL D. KEARNS, A REPRESENTATIVE IN CONGRESS PROM THE STATE OP PENNSYLVANIA Mr. KEARNS. Mr. Chairman and members of the subcommittee, may I begin by commending this subcommittee for the splendid way it has conducted the hearings on H.R. 4172 and related bills such as PAGENO="0175" AID TO FINE ARTS 167 my own H.R. 413, and H.R. 4174 and its related measures including my own H.R. 1942. You have been most courteous to the many distinguished cultural leaders who have appeared here today to plead the cause of Federal recognition of the arts, and you have, I am sure, given them a new insight into the ability and understanding which the Congress can bring to such complex problems as Federal aid to the arts. In doing this you have well earned the gratitude of millions of your fellow Americans; and you have given a fatal setback to the hoary view that Members of Congress are unenlightened, uncultured, and uninformed about the fine arts. The word most often applied to Members of Congress in certain art circles and by certain cultural leaders is "Philistine." However, if these leaders had been here this morning I am sure they would have gotten a major lesson in demo- cratic government at work and received a~ new insight into its vitality. I am proud to be able to tell you that I have received a telegram of support from President Dwight D. Eisenhower in Gettysburg, Pa., in which he says, in part: MAY 14, 1961. Hon. CARROLL KEARNS, House of Representatives, Waliiagton;D.C. DEAR CARROLL: You of course realize that my support for an Advisory Council of Fine Arts ~r some other organization similarly constituted has been un- changing since my recommendation of this effort was sent to the Congress 6 years ago. Consequently, any legislation of this type that may be pending would appear to me to be in the interests of our country. DWIGHT D. EISENHOWER. President Eisenhower, in recommending legislation to the Congress to establish a Federal Advisory Council on the Arts to the Congress in 1955 said in his;State of the Union message that: In the advancement of the various activities which will make our civilization endure and flourish, the Federal Government should do more to give official recognition to the importance of the arts and other cultural activities. I include at this point in my remarks the text. of a letter I recently received from former President Dwight D. Eisenhower. GETTYSBURG, PA., ~1Iay 8,1961. Hon CARROLL KEARN5 House of Representatives Washington D C DEAR CARROLL: I just heard of your eloquent defense of the past administra- hon on the cultural front My thanks br your continuing thoughtfulness and my a re~iation of the warmth with which you remember those of us no longer in Washington. With personal regard, Sincerely, D.E. In the thick of the 1960 political campaign the presidential candi- dates, the then Senator John F. Kennedy, and the then Vice President Richard M. Nixon, were asked the following questions by Equity Magazine, which is published by Actors' Equity AssOciation: [From Equity magazine, November 1960] QUESTIONS (Asked by Dick Moore, editor, Equity magazine, official publication of Actors' Equity Association) 1. Legislation sponsored by Senators Javits, of New York, and Clark of Penn- sylvania, would establish a new federally supported foundation for the perform- PAGENO="0176" 168 AID TO rii~ ARTS ing arts. This bill stipulates that the proposed foundation "shall not produce or present any productions * * * but rather, through its appointed trustees, will foster and encourage professional and civic and nonprofit, private, public, educational, institutional, or governmental groups which are engaged in or directly concerned with the performing arts and productions." The bill requests an initial appropriation of ~5 million, and it is intended that an annual appro- priation would. be augmented by tax free donations, and that the Foundation would be established as an independent agency in the executive branch of the Federal Government. Do you favor such a measure? 2. Would you request additional appropriations for the President's interna- tional cultural exchange program, for the purpose of increasing the number of live productions performed in other countries by professional American. perform- ing artists?. `3. Artists in many fields are apt to have highly irregular incomes. Efforts made in the past to permit them to average their incomes for tax purposes over a period of from 3 to 5 years (as is allowed in several European countries) have been unsuccessful. How do you feel about these tax-averaging proposals? Here are the answers given by President John?. Kennedy: Axsw~s (By Senator John F. Kennedy) It is a pleasure to reply to your qñestions * * * for publication in Equity magazine. 1. I am in full sympathy with the proposal for a federally supported foundation to provide encouragement and opportunity to nonprofit, private, and civic groups in the performing arts. When so many other nations officially recognize and support the performing arts as a part of their national cultural heritage, it seems to me unfortunate th'~t the United States has been soslow in coming to a similar recognition. 2. I have been. in the Senate, a consistent and enthusiastic supporter of cul- tural exchange as a means of exhibiting abroad the quality and character of American culture and earning the good will that can only come from understand- ing and appreciation of our culture. American artists performing abroad have been one of our finest assets for this purpose and have been of incalculable value to this country's relations with other nations. I hope that the United States can continue and expand its efforts in this valuable, program. 3.. There is clearly a serious inequity in the failure of our tax laws to recognize the special problems created for artists and writers by the highly irregular char-. acter of their income from year to year. While I believe that the specific remedy for this inequity needs careful consideration, I would favor prompt and adequate revision of the tax laws to deal with it. . . . I hope that these statements are satisfactory for your use. .Let me take this opportunity, also, to express my warm admiration and support for Actors' Equity and its achievements. This is the w ~y Vice President Nixon answered the questions, SO it can be seen that there was very litfie difference between . the two candidates: ANswERs (By Vice President Richard M. Nixon) 1. I wholeheartedly support the objective of stimulating the advancement of the performing arts and promoting increased public appreciation of their im- portant role in our national life. I think that a good first step toward meeting that objective would be a pro- posal by this Administration to create a "Federal Advisory Council on the Arts" within the Department of Health, Education, and Welfare. The Council would explore all aspects of the question-including the proper function of the Federal Government in cultural development-and make recom- mendations as to the best methods by which we can encourage activity in the performance and appreciation of the arts as well as fostering participation in them. PAGENO="0177" AID TO FINE ARTS 169 It seems to me that laying this groundwork is necessary before we go on to consider specific proposals such as the establishment of an independent U.S. Art Foundation to undertake operating programs, as provided in the Javits- Clark bill. Once we develop the basic guidelines, we can then study alternative programs, and choose the one that will effectively promote the full development of our performing arts. 2. America is proud of her performing artists, and I believe that their fre- quent appearances overseas contribute greatly to an increased understanding of this Nation and the culture it represents. As you know, the prestige which the President's special international program for cultural presentations has enjoyed in the past 5 years has been of tremendous importance in building and strengthening the image of America abroad. I would certainly support an expansion of this program to assure that our performing arts are broadly represented in as many nations as possible. For example, I think we might have an American dramatic repertory company, an American ballet troupe, and an American symphony orchestra, all on tour. These groups would travel to virtually every corner of the world. At present, however, we are not sending abroad as many of our artists as we would like. In the free world, there are more than 250 cities with large populations-more than 200,000 people each-which we should try to reach at least once a year. / My trip to the Soviet Union last year strengthened my belief that we should also increase both our cultural and person-to-person exchange programs with the Iron Curtain countries, as well as with those nations outside the Communist bloc areas. We certainly cannot lose by continuing or expanding these exchanges with the Soviet Union and other Communist countries. We cOuld stand to gain much. It seems to me that these people may increase their pressures for greater freedom from oppressive controls as they become better acquainted with the aspects of a richer and freer life through direct contacts with Western cultural and civiliza- tion. The Communists challenge us to compete, and we welcome that challenge. Our answer is that we can match them in artistic excellence, or for that matter, in any field' they want to choose. 3. The merits of this proposal, of course, `would need to be weighed against the increased administrative costs and the loss of revenue~ to the Treasury which it might involve. The present administration has recognized, in part, the equity of relief' for taxpayers who, experience sharp variations in income from year to year by support of legislation permitting a 3 year' loss "carryback" and a 5 year loss "carryforward." In deciding whether or not this principle should be extended to permit tax averaging, we must remember that if such relief were given to artists, it should be extended to all taxpayers with the same problem. This might well put a heavy burden on both the Government and the taxpayer in that `the tax for a given year would have to be recalculated' again and again. Phi's aspect, plus ~~the possible. ,revenue losses resulting from' tax-averaging, would have to be carefully studied before we could make a firm decision about the proposal. Generally, I would say that if the burdens to the taxpayers and the Internal Revenue Service are shown to be excessive, I would oppose such a change in our tax ,laws. If a close study of its effects proves otherwise, and if its adoption would not interfere with more urgently needed tax reforms, then I think it could be favorably considered. I think it is important, here in the middle of May 1961, midway in the 1st session of the 87th Congress, to remind ourselves of the p0 sitions on the arts which were taken by the candidates in the political campaign of last fall. For one thing, it shows that, as far as the arts are concerned, there was a very large area of agreement between the two presidential candidates. I include here the views of the presidential candidates as they were published in the October 29, 1960, issue of the Saturday Review. 70259-Gi------ i2 PAGENO="0178" 170 AID TO FINE ARTS [From the Saturday Review, Oct. 29, 1960] * THE CANDIDATES AND THE ARTS With the presidential election only days away, Saturday Review is * privileged to present the views of the major candidates on some matters of public interest. This letter and the appended ques- tionnaire were dispatched on September 1. Among the subjects with which the next administration will have to deal is the claim of art and artists to Government recognition, encouragement, and assistance. Though not the gravest issue before the country, it is far from the least if our culture is to attain the growth of which it is capable. As it may involve congressional legislation and executive action, it would be helpful for voters with an active interest in the arts to know the attitude of the candidates of the two major parties on certain key questions. With that in view, Saturday Review invites your attention to the following questionnaire. We would welcome any overall statement on the question you would care to make, as well as answers in detail to the specific questions. The answers of yourself and your opponent will be published verbatim, jointly, in a forthcoming issue of Saturday Review. If it is possible for you to mail or wire the reply by October 1, we would have it for the issue of October 29, which would be our preferences 1. Are you in favor of a Secretary of Culture (parallel to the Ministry of Fine Arts in some European countries) with Cabinet rank and broad authority in this field? 2. To what extent ~shou1d the Federal Government assist in the support of symphony or'chestras, museums; opera cOinpànies,etC.? 3. Through its grants to foreign nations, the Federal Government has, in effect, underwritten cultural activities in many friendly nations. What is its responsibility to such activities in this country? * 4. Would you, if elected, continue the cultural exchange program with the U.S.S.R. and its satellites? 5. If so, on.the same scale as now? On a larger scale? On a reduced scale? 6. Do you believe this comes properly under the jurisdiction of the State Department, or should it be administered by a Secretary of Culture? 7. What. are your views on the National Cultural Center which has received a congressional grant of land in Washington~ Would you recommend the u~e of public funds to bring it into being? 8. Do you consider the encouragement of art, in the broadest sense, and artists a function of the Federal Government or one more properly left to State and municipal authorities? 9. As the "Voice of America" is broadly representative of the people of the United States, it also represents its culture. How effectively do you think this is being done at the presenttime? 10. Would you support a program to give pay TV equal status with free network television as it now exists? The Saturday Review thanks you on behalf of its readers for your con- sideration of its request. I With best wishes, Sincerely, IRVIN KOLODIN, Associate Editor. DEAR Mn. KoLornN: I thoroughly share your view that, if our culture is to attain the growth of which it is capable, a great deal of effort, both public and private, is essential. It is through the arts that the spirits of men communicate. For this reason, I believe cultural exchange and growth stand close to the center of our worldwide struggle for the principle of human freedom. While America is a young country in the history of world culture. its achieve- ments are notable. Although there were fewer than 100 symphony orchestras in our country in 1920. there are more than 11,000 today, many of them of the highest professional standards. Every major city now has its "good music" radio station. Long-playing classical records account for a substantial propor- tion of record sales. PAGENO="0179" AID TO FINE ARTS 171 Over 700 opera groups are active. Hundreds of thousands of our younger people now play in orchestras and bands. There has been a spectacular increase and improvement of the off-Broadway theaters, in summer stock, and in univer- sity dramatics. Today we have more widespread exhibitions of first-class painting and sculp- ture, and more cities with at least one distinguished work of contemporary archi- tecture. Our American architects are world famous. The earlier trickle of foreign students at American universities, and Americans studying abroad, has become a respectable stream. Today, nearly 50,000 foreign students are studying in America, while aome 14,000 of our own students are enrolled abroad. In short, our measurable trend in the arts does not indicate an America that lacks cultural consciousness. Far from it. I believe that we are at the be- ginning of our cultural thrust. But I also believe that what we have achieved in the art field is only a start in relation to what we must do. In answer to your specific questions: In my opinion, it would be better, at this time, to appoint an Advisory Council on the Arts, composed of the best qualified Americans in all the cultural fields, than a Secretary of Culture. In this way, the views of a larger number of competent professionals in the several arts could be heard nationally. This Council should make recommendations to the President and Congress as to the best line of Federal action in support of artistic endeavor. It might.also be help- ful in suggesting steps by which State and local governments might stimulate private cultural activities. Legislation to create such a Council has been introduced in Congress with broad bipartisan ~backing. I support this idea, and will work for its passage. In response to youi question ~ hether the encouragement ot art in the broadest sense, should be a function of the Federal Government or. one more properly left to local authorities, my position is that both the Federal and local authorities have a proper role to play. Obviously, the building of local civic and art centers is primarily a matter for local authorities. However, programs such as our present international cultural exchange programs are clearly much more suitable to Federal assistance. We must, of course, remember that in America the pursuit of culture is an individual matter. We do not have a state controlled or state directed culture. Assistance, therefore, should be indirect-scholarships, exchange programs, en- couragemen~ rather than subsidy. ,,. . .~ . . . . .,. . . As an illustration, the U.S. Government already has committed itself to sup- port the building of a National Cultural Center in Washington. This center to be constructed with private funds, was conceived with full bipartisan support as an effort to promote creative activities and the performing arts throughout the Nation. I personally pledge full support to the successful realization of this project. With reference to our international cultural exchange programs, we must con- tinue to encourage and expand our efforts in this direction. Our arts, industries, and sciences are open to the world. We welcome persons from abroad who want to have the opportunity to learn our ways and come to know more about us. In turn, Americans have much to learn from these visitors and from our trips abrQad. . .. ..~ . . . . ,. I can see no reason to limit these exchange programs in terms of their geo- graphical scope. Unless unusual circumstances would warrant a change, I would continue to support the cultural exchange program with the Soviet Union and other Eastern European countries-on the same scale as now with a view to future expansion. In my view, these programs are best managed under the direction of the State Department. Cultural exchange programs necessitate a great deal of inter- governmental cooperation, and the State Department is in a unique position to make the necessary arrangements. I think the operation of the "Voice of Anierica"-which I regard as a highly successful program--illustrates the point. We should give consideration to expanding and improving the "Voice of America" program because it has done such an effective job up. to now. I hope these views ~ ill be ot interest to readem s of the Saturday Review and I am grateful for the opportunity to express them. - Sincerely, RICIIAIW M. NIxoN. PAGENO="0180" 172 AID TO FINE ARTS DEAR i~fa. K0L0DIN: I will attempt to answer the Saturday Review question~ naire as completely as possible. 1. The Government cannot order that culture exist, but the Government can and should provide the climate of freedom, deeper and wider education, and intellectual curiosity in which culture flourishes. If I thought the addition of a Secretary of Culture to the Cabinet would insure culture. I would `be for it. I do not think such a department would accomplish the purpose. It might even stultify the arts, if wrongly administered. We have more than enough con- formity now. The. platform of the Democratic Party proposes a Federal advisory agency "to assist in the evaluation, development and expansion of cultural resources of the United States. We shall support legislation needed to provide incentives for those endowed with extraordinary talent as' a worthy supplement to existing scholarship programs." If the people send me to the White House, I shall push this program. A gifted child deserves the finest education this Nation can provide. He is a national asset, whether his gift is to paint, write, design a jet airliner or a dramatic set~ or explore the cosmos with a radio telescope. His worth cannot be estimated in the ledgers of the budgeteers. 2. The Federal Government already operates the National Gallery and the Freer and Corcoran Galleries, plus the magnificent Smithsonian Museum. The Library of Congress is perhaps the world's greatest repository of culture. The National Archives preserves the historical record of the Nation. I favor expan- sion of all these facilities so that all citizens have easier access to the cultural. resources now centered in Washington. I do not believe Federal funds should support symphony orchestras or opera companies, except when they are sent- abroad in- cultural exchange programs. 3. The Democratic Party has accepted the responsibility of participating in the advance of culture. We fight for an end to apathy and a renaissance of purpose in America. We intend that our children be prepared, in education,. health, and vision, to challenge a world of exploding technology-of great pres- ent danger but unlimited hope. Our children will reach, literafly, for the stars. Ours i's the renascent party-the party of humanity, of strength, of leadership. Our philosophy is quite simple. When an organism stops growing, it starts-. dying. This is -true for nations as well as men, and for spirit and mind as well as material things. I am determined that we begin to grow again, and that there be an American renaissance in which iniagination,-daring, and' the creative arts point the way. - 4. Certainly. , - 5. On a larger scale. If every student in the U.S.S.R. and the satellites could tour the United States and compare what they see with what they have been~ told, I would have little fear of future wars. Conversely, Americans have much. to learn abroad. One of our greatest strategic shortages is knowledge of foreign, languages. ` 6. The State Department. - 7. ~The National Cultural Center should be erected as speedily, as possible.. Theprivatecontributisns have been welcome and `helpful, and I' hope will `con- `tinue. 8. The encouragement of art, in the broadest sense, is indeed a function of government. It has always been so, in a -tradition that extends from the most glorious days of Greece. It will be the responsibility of the advisory agency,. which will be appointed in accordance with the pledge of the Democratic pint-- form, to decide in what manner this shall be done. At this moment, the Federal Government acts as art patron to only one per- son-the Consultant in Poetry and English at the Library of Congress. And his. salary is paid through a private, anonymous bequest.' I think we can do better than that, if only by alleviating the unfair tax burden, borne by writers, painters, and other creative artists. They may exist on small incomes for years to perfect their skills, and then be plundered by the Treasury in a single year of plenty. -` But the problem is not simply one' of mOney. It is one of attitude.' It is a, question of whether we are more interested in rOading books of making book, in Maverick or Macbeth, Zorro rather than Zola, Peter Gunn or'Peter Gynt. In,. this day of crisis, "Wisdom is betterthan strength * * * a wise man better than, a strong one." PAGENO="0181" AID TO FINE ARTS 173 If this Nation is to be wise as well as strong, if we are to achieve our destiny, then we need more new ideas for more wise men reading more good books in more public libraries. These libraries should be open to all-except the censor. We must know all the facts and hear all the alternatives and listen to all the critcisms. Let us welcome controversial books and controversial authors. For the Bill of Rights is the guardian of our security as well as our liberty. 9. The "Voice of America" should be revitalized and strengthened. The ~`Voice" is only one part-shortwave broadcast-of the U.S. Information Agency. shortwave radio is the media best suited `to carrying news, commentary, and music. At this time, the most popular program is American jazz, which, inci- dentally is very good propaganda. The news operation should be speeded. It is in a life-and-death competition with Radio. Moscow and Tass. With tele- vision becoming more important `the world over, I feel that the USIA should also concentrate on producing documentaries for foreign broadcast. 10. Pay TV is currently being tested in both the United States and Canada. I prefer to reserve judgment until these tests give definitive evidence upon whether pay TV is in the current interest. Sincerely, JOHN F. KENNEDY, UJ~. Igenator. American political leaders learn very quickly. The quickest con- version in history, however, apparently took place in the case of Pres- ident John F. Kennedy. Let me illustrate by recalling the question asked both Presidential candidates which the Saturday Review published on October 29, 1960: To what extent should the Federal Government assist in the support of sym- phony orchestras, museums, opera companies, etc.? To this, Candidate Kennedy replied: The Federal Government already operates the National Gallery and the Freer und Corcoran Galleries, plus the magnificent Smithsonian museum. The Library of Congress is perhaps the world's greatest repository of culture. The National Archives preserves the historical record of the Nation. I favor expansion of all these facilities so that all citizens have easier access to the cultural resources now centered in Washington. I do not believe Federal funds should support symphony orchestras or opera companies, except when they are sent abroad in cultural exchange programs. Let us pass over the obvious, that the Federal Government does not operate, or contribute one smidgeon of support, to the Corcoran Gal- lery of Art in the Nation's Capital. Let us simply point out that by early November, and before the election, Candidate Kennedy was taking a strong position in support of Federal financial aid for the fine arts. His exact words in Equity magazine, published by the powerful Actors' Equity Association, which is affiliated with the American Federation of Labor-Congress of Industrial Organizations, only a few days later are as follows-and this leads me to hail this as a "conversion"; I am in full sympathy with the proposal for a federally supported foundation to provide encouragement and opportunity to nonprofit, private and civic groups in the performing arts. When so many other nations officially recognize and support the performing `arts as a' part of their national `cultural heritage, it seems to me unfortunate that the United States has been so slow in coming to a similar recognition. I think the civic and cultural leaders of the United States (who are as deeply interested in the advancement of American' art and culture as they are in the preservation of the ancient treasures of the Nile- which President Kennedy has asked the Congress to appropriate $10 million to accomplish) should pay particular attention to whether PAGENO="0182" 174 AID TO FINE ARTS this was truly a permanent "conversion" or whether it was only a "campaign" conversion on the part of the President. We must remember that President Kennedy introduced legislation to save the historic buildings on Lafayette Squai~e, including the Belasco Theater, and was joined by eight Democratic Senators, and that the President went through the campaign last fall with this as his position. Certainly we must hold him to this promise. The Fed- eral Advisory Council on the Arts must be deeply concerned with preservation of our historic treasures in buildings, sites, and art in the same way that national programs in Europe are. One-quarter of our historic buildings have disappeared in the past 20 years largely as a result of federally financed building programs from highways to urban renewal projects. This is nothing less than criminal and it must be stopped. If the Council can stop the destruction of the Belasco Theater and the John Philip Sousa Home in the Nation's Capital then we will know it is not just a. figurehead group and that it is worthy of its role. I include, as part of my remarks, a speech on the subject of "Music and Public Education" which Dr. Finis E. Engleman, executive sec- retary, American Association of School Administrators, gave to the 1961 meeting of the Music Educators National Conference. In this connection I would like to call to the attention of the members of this Select Subcommittee on Education the following resolution which was adopted by vote of the 9,000 members of the American Associa- tion of School Administrators who attended their convention in At- lantic City, N.J., in February 1959. The resolution was as follows: TEXT OF THE RESOLUTION ON THE CREATIVE ARTS, ADOPTED BY THE AMERICAN AssocIATION OF ScHooL ADMINISTRATORS IN CONvENTIoN IN ATLANTIC CITY, N.J., FEBRUARY 18, 1959 The American Association of School Administrators commends the president. the executive committee, and the staff for selecting the creative arts as the general theme for the 1959 convention. We believe in a well-balanced school curriculum in which music, drama, painting, poetry, sculpture, architecture, and the like are included side by side with other important subjects such as mathe- matics, history, and science. It is important that pupils, as a part of general education, learn to appreciate, to understand, to create, and to criticize with discrimination, those products of the mind, the voice, the hand, and the body which give dignity to the person and exalt the spirit of man. * I am pleased to be able to say that the National Music CounciT, which represents the entire field of music in our country, has adopted resolutions strongly suppprting H.R. 4172 and ll.R. 4174. I include a number of other items on the arts, which I am convinced should be made a part of the hearing record at this time, so that they may be studied carefully by the members of the Federal advisory council on the arts when that council gets underway. Certainly, one of the first projects it must tackle, other than the saving of the La- fayette Square buildings, is that of the absurdly high salaries, some of them higher by as much as $1,000 a week than the salary of the President of the United States, which are paid to some artists by the Department of State under the President's Program of International Cultural Exchange. We must have such cultural exchanges, of course, but such salaries make a travesty of this program. The Federal Advisory Council has a major role to play, indeed, if our arts are to be anything more than a convenient vehicle to get the top Federal officials and their wives PAGENO="0183" AID TO FINE ARTS 175 of the "New Frontier" on the society pages of our newspapers. This kind of personal glorification and publicity has nothing at all to do with art but it has a lot to do with politics. The Federal Advisory Council should also take a long, hard look at the monopolization of the Carter Barron Amphitheater by com- mercial entertainment to the complete exclusion of the National Sym- phony Orchestra and other civic, nonprofit cultural programs of the Nation's Capital such as the Washington Ballet Co., the Washington Civic Opera Co., and the Children's Theater of Washington. The plans which have been developed by Senator Clinton Anderson to deprive the National Collection of Fine Arts of the home which the Congress provided in 1958 in the historic Patent Office Building must be critically examined and disapproved by the Federal Advisory Council on the Arts. I have included articles on these matters. (The items referred to follow:) [11. J. Res. 386, 87th Cong., 1st sess.] JOINT RESOLUTION Designating the first week of May each year as "National Music Week" Whereas the National Federation of Music Clubs for many years. has spon- sored the observance of the first full week in May as National Music Week; and Whereas one of the purposes of this annual observance has been to focus na- tional attention on music, as well as on those allied arts and those industries dependent upon music such as the theater, ballet, motion pictures, radio, tele- vision, and the recording industries; and Whereas music is a proven, effective, and major media of communication and understanding between all peoples for the advancement of peace and mutual good will; and Whereas an understanding of other peoples can best be achieved from the firm foundation of a knowledge of, and respect for, our own arts and culture; and Whereas George Washington, our first President, declared that an education which included the fine arts was essential to enable our youth to develop a true understanding of our form of government and the true and genuine liberties of mankind, and said that the arts essential to the ornament and happiness of human life have a primary claim to the encouragement of every lover of his country and mankind; and Whereas Pope Pius XII in his encyclical letter on the subject of music de- clared that "Music is among the many and great gifts of nature with which God, in whom is the harmony of the most perfect concord and the most perfect order, has enriched men" and added that "music contributes to spiritual joy and the delight of the soul"; and Whereas President Eisenhower, in his 1955 state of the Union message stated that: "In the advancement of the various activities which will make our civiliza- tion endure and flourish, the Federal Government should do more to give official recognition to the importance of the arts and other cultural activities; and Whereas many outstanding organizations have participated actively in the observance of National Music Week, among them being the American Society of Composers, Authors, and Publishers; the American Guild of Musical Artists; the National Association of Schools of Music; and the National Music Council; and Whereas music must have a major role in any great overall plan to give the signflcant overarching cultural climate needed to make it possible for the Na- tion's Capital to take its place beside other world capitals in regard to the fine arts: Now, therefore, be it. Resolved by the $enate and Ho~tse of Representatives of the United states of America in Congress assembled, That the seven-day period beginning on the first Sunday in May of each year is hereby designated as National Music Week. The President shall issue annually a proclamation calling on the American people to observe National Music Week with appropriate ceremonies in order to advance the art of music and those arts and industries dependent upon music such as PAGENO="0184" 176 AID TO FINE ARTS theater, ballet, motion pictures, television, and the recording industries for the purpose of achieving a sound and mature national culture and international peace and good will. ______ MUsIc AND PUBLIC EDUCATION (By Finis `E. Engleman, Executive Secretary, American Association of School Administrators) More than 150 years ago, when discussing his concept of civilization, John Adams said, "I must study politics and war, that my SOILS may have liberty to study mathematics, philosophy, and commerce so that their children in turn may have the right and privilege to study painting, poetry, and music." Thus, even before the free public schools of America were established, aspects of their shape and processes were blueprinted by our second President. Fifty years after this statement by John Adams, farsighted humanists such as Horace Mann and Henry Barnard were convincing the new nation that it could not sur- vive except as its citizenry was broadly educated. So the revolutionary in- stitution known as the public schools was born and established. Its broad purpose of equal opportunity for the Sons of all men and its faith in the essential worth of each individual gave it from the very beginning, the humanistic qualities so essential to any nation of free men. This unique in- stitution, which brought reality to the dreams of universal education for all, is probably the greatest contribution to mankind which the Western Hemisphere has produced. The educational content has often been restricted and even barren. But in the farfiung reaches of this great country, there has been, in varying degrees, the persistent determination of public school leaders to bring to all children and youth the unique privilege of tasting and digesting an educa- tion for living consistent with the `liberal tradition of Western civilization. Slowly but surely progress toward a broad and comprehensive program, with the performing and creative arts playing an ever-widening role, is clearly dis- -cernible in the history of American education. It is thus that the cultural level *of America has risen, step by step. With much of its support coming from the arts as nurtured and taughtin the schools, Americahas reached a cultural stat- ure of considerable proportions. Retreat from these purposes, however, seemed to be in full sway in 1959. A space vehicle launched dramatically by a powerful and sinister world com- petitor threw fear into the hearts of many Americans, tending to cause a retreat from formerly held values and to place new priorities on what should be taught. Consequently some of the school administrators of the Nation were thrown off balance, as was the educational program which they administered. It is worthy of note, however, that the American Association of School Administrators devoted all major aspects of their 1959 convention to the creative and perform- ing arts, with all general sessions headlined by the master artists in the several ~fields including fine art, music, drama, poetry, and the dance. Near the close of that convention the association, made up of more than 12,000 of the leaders of American education, voted the following resolution: "The American Association of School Administrators commends the presi- dent, the executive committee, and the staff for selecting thecreativearts as the general theme for the 1959 convention. We believe in a well-balanced school cur- riculum in which music. drama, painting, poetry, sculpture, architecture, and the like are included side by side with other important subjects such as mathe- imatics, history, an dscience. It is important that pupils, as a part of general education, learn to appreciate, to understand, to create, and to criticize with discrimination those products of the mind, the voice, the band, and the body which give dignity to the person and exalt the spirit of man." Even as this resolution was adopted `many Americans were crying, "Cut out -the frills. Nonessentials such as music and literature must give way to the `solid' subjects of science, mathematics, and foreign languages." And Congress `was passing the National Defense Education Act, which encouraged school boards to buy bargains in science and language programs at the expense of the humanities. Since it was suddenly recognized that America must communicate with all the people of all the world, the Federal Government rushed to aid the teaching of French and German while the one language that is common and `universal, the arts, was either abandoned or left to struggle against heavy odds PAGENO="0185" AID TO FINE ARTS 177 created by a Federal program that offered matching money for these curriculum fields, and thereby discouraging the use of local and State money for the humanities. Thus a very subtle control of the school curriculum was exercised. All who are familiar with the history of Rome know that a certain Roman senator was successful in stimulating the Roman Senate and his whole country into a frenzy of action by simply assuming a certain state of mind, dramatically draping his toga, and repeatedly shouting, "Carthage must be destroyed." By repetition and by continuous assertion he developed the image of a sinister foe and a line of action for his country which the Romans became compelled to follow. Today we have several modern Catos in America who by virtue of access to mass media of communication, backed by determined persistence and dogma- tism, have resorted to the ancient tactics of accepting some doubtful assump- tions and pronouncing them .as unquestioned truths. Armed with many ques- tionable "truths," they have set forth by sheer repetition and exalted manner to discredit leadership of America's schools, teachers, and the school curricu- lum. They set themselves up as saviors and present "new" images of "proper" methods of instruction sounci philosophy and psychology of learning and just "what" constitutes a curriculum for our times. At the same time an inaccurate image is presented of .what the schools have done and are doing in structure, materials, content, and methods. As Robert Frost would put it, "Like old dogs lying down and barking back- wards with all the authority of a forward vision" these "saviors" have sounded a frightening bugle retreat call to a curriculum almost barren of the arts. As I consider the many wise and unwise educational programs and policies which have been promoted by someone during the past half decade in almost every phase of American culture, I think it may profit us to keep in mind an expression attributed to one of our great British literary figures. When Robert Louis Stevenson was a boy, he sat at his window watching an old streetlamp lighter as he went by touching his lighting wick to the gas burners. Robert's mother, concerned over the boy's silence, asked what he was doing. He replied, "I am watching a man punch holes in the dark." The leaders of public education have long ago assumed the role of lamplighters where the souls of men cry in darkness, ignorance, and fright. I firmly believe these same men are now reforming their ranks and will immediately go forward with a record curriculum demanded by a civilized culture. Although sometimes possessing only inadequate wicks and insufficient oil, those who operate our schools have consistently and continuously punched holes in the dark. The darkness of ignorance, prejudice, and incompetence shrouds the world and America is far from free of it. Each individual with 10 talents or with I has the potential to penetrate this darkness and to throw light on a segment of the universe. Light of a great magnitude is necessary for some segments; but light of a lesser brilliance, like that so helpful in a photographer?s darkroom or in a damp cellar,, is also of great worth. When the lights spread from many individuals are put together brilliance like that in a fluorescent-lighted highway dispels the darkness. When any light goes out or when a new one is lit, the degree of darkness changes. Thus universal education, a broad program suitable for each pupil, gains full support from a law of nature. If education is to have quality, it must also have quantity and diversity. It is through quantity, and universal educa- tion, that the greatest number of samplings of potential talents of a diverse character may be found and developed. And a modern, complex world demands: more diversity of human competence than ever before. But diversity is at- tained not only by diverse human potentials but by diversity of educational programs that nurture all these diverse potentials. But democracy and tech- nology are not the enemies of culture, and mass communication is not the source of its own poison. The highbrows' worry over "Masscult" is to some extent an alibi for their own: doubt and confusion about the relation of art to a democratic society. There is' a public, enlarged and enlarging, with a common language and tradition. It must be both the source and audience for such continuing cultural advances as our civilization may make. As Jacques Barzun has put it, "What we have under- taken no other society has tried: we do not suppress half of mankind to refine part of the other half." Instead the refinement must be public and general if our civilization is to be democratic as well as great. PAGENO="0186" 178 AID TO FINE ARTS Today the battle is in full fury. Ground lost during the past 4 years in preserving a balanced program has not as yet been reclaimed, but I am optimistic enough to believe that any institution founded on values so close to the aspira- tions, the hopes, and the very nature of man and so necessary to a free society will not be denied its destiny. Americans surely know that Booth Tarkington was right in his belief, "A country could be perfectly governed, immensely power- ful, and without poverty; yet if it produced nothing of its own in architecture, sculpture, music, painting, or in books it would some day pass into the twilight of history, leaving only the traces of a creditable political record." At this point I quote my own message to you as found in the December 1958 Music Educators Journal: "No other civilization has meant more to mankind than that developed on the peninsula of Greece. There a mere handful of men produced the art, the drama, the philosophy which time does not destroy. From these few thousand persons the world has a legacy of great worth. The Grêéks indeed taught mankind the joy of beauty, the artistry of design and form, the drama of life, the strength of logic, and the value of truth. "Today the world is shaken by new knowledge of nature and the power released by its technical utilization. The physical aspects of life and material values have risen to ascendancy. The new release of energy gives man the sheer physical power for moving mountains and shooting the moon. Old feelings of security, of complacency, have been turned topsy-turvy as another great power with a conflicting philosophy threatens our physical Goliath. "So America may be playing the fool by lessening its concern for what the Greeks held to with greatest priority and by frantically plunging - into an education program pointed almost exclusively at material values. "The incessant cries for technicians, engineers, chemists, physicists, mechanics, skilled industrial workers, have seemingly drowned recognition of the ever- constant need for artists, philosophers, musicians, historians, and poets. The baser emotions of fear and greed have done much to crowd out the nobler emotions of appreciation of beauty, rhythm, color, design." The urge to find the true destiny of man, the ends he should live for, and his true relationship to the universe must not give way to a frantic race for physical power and technical superiority. Thus it seems that all of us who are responsible for an education of most value to a civilization dedicated to the essential worth and dignity of each individual, along with a further dedication to long-established humanistic values of Western civilization, have the privilege and responsibility to cling fast to and improve an educational program that is both balanced and comprehensive, both scientific and esthetic. It seems clear that the school administrator of modern education in the United States will not forsake the wisdom and courage which his responsible position demands he demonstrate. My thinking is sometimes at great divergence to that of wiser men, but I am unshaken in my belief that the arts and humanities are a desirable and a funda- mental part of the daily life of the educated man; and, by the same token, it may be assumed that they are a vital necessity in the daily life of the less educated and even illiterate, in the sense that we often use that word. Social anthropology throws much light on the nature and quality of human- kind. It is important that we be sensitive to the fact that most illiterate peoples have developed to a very high degree folk art, the dance, and folk drama as a basis for their cultural existence. Thus they make secure their claim of being human beings of higher order than mere animals. It seems clear that if the arts are so essential to primitive peoples, then they must become increasingly so for those where culture and education have been developed to a high degree. A civilization simply isn't civilized in the absence of the arts for the many. Any cultrue that reserves the finer things to an elite group will lose it for the select. Any art form that fears contamination and loss of prestige when enjoyed by a great majority will fail by virtue of its own assumed exclusiveness. Since art and music are so fundamental to full and satisfactory living at all levels of civilization, need we belabor the argument that they must be given a place not only in the elective areas of the curriculum but also as part of the common learnings. Those who insist that Communist competition demands that America throw most, if not all, of our resources into a very limited field might well be asked the question, "Why fight a war if we first give up all that would justify a fight?" Furthermore, as we struggle to be understood by the millions of surging people in the underdeveloped world it might be well to note the majority of them are more interested in Jefferson. Lincoln, Twain, and Bernstein. than in Ford, Prey, Rickover, or Edison. They like America's values more than her machines. PAGENO="0187" AID TO FINE ARTS 179 `They like our humanists more than our engineers. Fortunately, other scientists applaud when James Killian, president of Massachusetts Institute of Tech- nology, says, "The image of America may be shaped by the qualities of its inner life more than by its exploits in space." All I have been saying adds up to my belief that the program in music is so important that it should stretch from the kindergarten through the college. Like other great disciplines, opportunity for the specialists must be provided for, that is, those who have special talents, special gifts, and are blessed with academic competence. Children with these special talents should be identified early and should be given the opportunity to become professionals either in the purely academic aspects of the discipline or in combination with the performing aspects. Thus, the school program should provide opportunity for good general music for the great mass of students who will not be professionals but who need education and experience in music as much as they need education in science, language, or history, merely as a basis for living a wholesome life. The music program should be treated as a serious and solid subject field. The toughest subject I ever took was one in music, and homework didn't give a ready answer. For many it becomes too tough to master, just as is true for some persons in any discipline. I think I must agree, however, that music, like most of the humanities, has qualities which bring greater depth of emotion and greater heights of appreciation and pleasure than is common in some of the other respectable fields. This, I would contend, is its added quality of great worth. Man has too few of the inspirational, esthetic, and exalted pleasures, and music should not retreat from its unusual opportunity of contributing to this great need of all human beings. I urge, however, that you not assume the false psychology and, I would be- lieve, false philosophy that your subject should be made tough in the sense of its being unpleasant and discouragingly obscure. You need not attempt to gain false academic respectability by accepting a false concept of what constitutes it. Truly, the great in life is always simple and quite readily discernible. The subtlety; the abstract depth; the mathematical scope; the range of meaning, coupled with the art and complex intricacy of performance and interpretation, permit music to match scholarship with any discipline. The value of simple performance for the many should not be discounted. I am not in favor of spending the number of hours in noisy band practice for the long marches on the football field, which I have infrequently observed. I do believe, however, that the youngster who discovers that he himself can sing a simple melody or can produce harmony with a woodwind or brass instrument has gained added stature as a human being and possibly may have a limited power which will give him and others the keys to hours of future happiness. I spent 2 years during the war in the cold Arctic where the nights were long in winter and where no source of amusement was found except through that invented and produced by the men of our Navy unit. From unknown sources pianos were procured (a mystery explainable only by the Seabees) and he who could play piano was of more value than an admiral. So I beg of you that, in this struggle now for academic respectability, you not take from your great field those simple aids to good living such as participating comfortably in group singing and instrumental ensemble groups. Possessing a friendly power to join in fireside singing of hymns, ballads, songs from musical comedy, and light opera may bring lasting pleasure to many men. Nor must you attempt to make your subject, which is in many respects academic and abstract in high degree, so much so that it is obscure merely for obtaining the quality of appearing difficult. Furthermore, may I say just a word about the instruction, even though I am as far afield in my right to make this observation as I was when they started discussing the content to be taught. First of all, as in any other discipline, the music teacher must be a master of his own field. I have a strong conviction that there is some danger that music teachers, like other teachers of great disciplines, may become so specialized that they cannot be classified as first-class music educators. I say this not to minimize the importance of the specialized skills so very essential to teaching aspects of the curriculum but rather with the con- viction of the importance of being educated teachers or directors in music first of all, and second, being conductors of orchestras, choruses, bands, and the like. Music's relatedness to the whole of education, its place in the whole mosiac of human understanding and culture, needs to be understood by the teacher. Also, the working materials and methods peculiar to the music area being taught PAGENO="0188" 180 AID TO FINE ARTS should be a part of the toolkit of any good teacher. In other words, dilficult as it may seem, the music teacher should be broadly educated with a wise sprinkling of mathematics, literature, history, art, drama, and philosophy. The music teacher profits much by being an educated person as well as a special- ist in music. Furthermore, knowledge of these content fields must be supple- mented with an understanding of the psychology of human growth and develop- ment, as well as by what research and experiences show us concerning the best tools of teaching and the best methods of using these tools. I next hazard to suggest that music educators beware of becoming prosaic and obsolete not only as to appreciations and skills but also as to their knowl- edge of music's new designs and emerging qualities. Let us not be hoodwinked into the notion that, new knowledge, new techniques are restricted to science. Music, art, and the dance are no more limited to old boundaries than is physics or chemistry. When I first heard jazz it was recognized and accepted as music by only a few. These new noisy incantations were too different, too unorthodox to be understood by my ears accustomed to other forms. You dare not be like- wise blinded. Hold fast with one hand to the old but reach eagerly with the other for the new. This world has never been in such revolution as now. New ideas and new concepts are erupting so fast that the time spread of an idea has no conven- tional restrictions. For these reasons I urge that you reexamine not only your methods but the minimum programs you have established in the schools. Fur- thermore, don't be afraid to experiment. If this is not done, obsolescence will be- upon you, and with obsolescence usually comes decadence and elimination. Possibly as I give you so much free advice about music and music teaching you may `be asking the questions: "What is the role and attitude of the school administrator as it pertains to the field of music? Is be not partial to other fields? After all, is he not the biggest obstacle ?" Since the college major of the majority of school administrators, according to a recent survey, is either in the natural sciences or in the behavioral sciences, you may readily assume that these are the fields to which he would give the greatest emphasis. Frankly, I don't know because I have not made an inventory of all school administrators and what their prejudices really are, but I am convinced that his graduate professional preparation has in most instances given him an appreciation and understanding of the importance of a broad comprehensive curriculum which includes not only the sciences but the humanities and vocational studies as well. Thus, he often sits as a judge or mediator trying to keep balance when many subject field specialists are clamoring for more time and attention, and the reactionists among the public insist on "basic" education only. In recent years, of course, some of these fields have had support from those who fear we are falling behind the Communist world and who would place high priority on fields other than music. Likewise, the industrial world often de- mands those practical subjects such as mathematics, science, and vocational subjects, little realizing the economic value of the arts; and, since the economic leaders are often the big taxpayers with power structures all of their own, boards of education and superintendents are, on occasion, unduly inf1uenced~ Since sometimes it is a battle among the power structures of a community to determine where the greatest emphasis should be, it might be good advice to the music educator to remember that he often has allies which he doesn't use. Maybe the music teacher should be a student of community sociology too. Confidentially, I have known superintendents, pushed by the pressures of certain community forces, who would give one subject more emphasis than it deserves, but who would prize greatly some pressures from another direction to counter the forces. Thus they would be given the freedom to establish a balanced program with each subject in its proper place. Possibly I should give a word of caution at this point. Realizing full well. the appeal of music as a public relations agency, may I urge that you not use this lesser strength in a big way. I refer here to persuasion by a dramatic public performance sometimes found at athletic events. Performing groups which have color and considerable public appeal but which consume much time and energy and produce relatively little high-class music should have only modest support from music educators. In other words, don't overplay the showmanship which maybe achieved by prostituting music. * May I congratulate you on your magnificent contribution to the cultural maturity of the United States and reaffirm my belief that the cultural maturity `of America can never be achieved in adequate or proper proportions unless the PAGENO="0189" AID TO FINE ARTS 181 public schools of America continue to strengthen and extend music programs which people like you have developed. May I urge you not only to enjoy your field but to respect it, to be proud of it, and to recognize its true purposes. These purposes will be enhanced as you relate this great discipline, this great source of inspiration, this spring of enlightenment to the other field in the humani- ties. Each enhances the other; together they fashion the noblest of man's insights, hopes, and aspirations. [From the Congressional Record, May~ 3, 1961] THE FIRST 100 DAYS IN THE ARTS The SPEAKER pro tempore. Under previous order of the House, the gentleman from Pennsylvania [Mr. KEARN5] is recognized for 40 minutes. Mr. KEARNS. Mr. Speaker, a number of articles have appeared in such publica- tions as the New York Times, `the Washington, D.C., Post, and the Washington, D.C., Star about the Salute to the Arts luncheon held by the Woman's National Democratic Club on April 27, 1961, at the Mayflower Hotel in downtown Washing- ton, D.C. The theme was "What I Would Do for the Arts if I Were President for a Day." Speakers at the luncheon included `Philip C. Johnson, architect; Cornelia Otis Skinner, actress; Mischa Elman, violinist; and George Balanchine, director of the New York City Ballet. Perhaps it is time to review the Democratic accomplishments in the arts dur- ing the first 100 days, relating them to the entire picture of the arts as it de- veloped during the preceding 8 Republican years. There have been no Presidential messages on the arts, such as President Eisen- hower sent to the Congress in asking for the passage of legislation to establish a Federal Advisory Council on the Arts. There were several statements during the political campaign last fall on the arts by Senator Kennedy about what he would do about the arts, if he were elected. However, we are still awaiting any definite steps by President Kennedy- and by' other top administration officials and their families-aside from those steps, that is, which are widely reported only in the society pages of the news- papers, which would define the proper role of the Federal Government in the encouragement and growth of the fine arts in our country. Recently, moved by a spirit of good neighborliness, I offered a few suggestions to the members of the Woman's National Democratic Club. This was in con- riection with the Salute to the Arts luncheon with its theme of what the President could do for the arts in a day if he wanted to. Miss Betty Beale, a brilliant and discerning commentator, wrote as follows in the Washington, D.C., Star of May 1, 1961: [From the Evening Star, Monday, May 1,1961] "CULTURE TALK EVOKES BLAST "(By Betty Beale) "A Republican Congressman and the only Member of `that august body to hold a degree of doctor of music, has let go a. broadside at the Democrats for all this talk about culture. "The Salute to the Arts luncheon given by the Woman's National Democratic Club last Thursday is what finally got Representative Carroll Kearns' dander up. "The Pennsylvania legislator has sent a letter to Mrs. Richard Boiling and other members of the luncheon committee to set the record straight. The ladies may still be reeling from the blow. "Noting that many people are beginning to think that the art interest of the Federal Government began with the invitation to' Robert Frost and 150 other cultural leaders to attend the 1961 Inaugural, Mr. Kearns fires his first shot. There came into being, he observes, under Eisenhower the National Cultural Center Act, and the International Cultural Exchange and Trade Fair Act under which our great orchestras, artists, drama, and dance groups are sent overseas to demonstrate U.S. accomplishments in the fine arts. PAGENO="0190" 182 AID TO FINE ARTS "Then he blasts his second shot. President Eisenhower, he said, called for the establishment of a Federal Advisory Council on the Arts and although the Demo- crats have been in control of the Congress since 1955, nothing has happened. "`Six years is an awfully long time to wait for the establishment of such a new Federal advisory agency. The contemplated budget is only $50,000. When our gross national product is over $500 billion, it can be seen that such a step would scarcely unbalance the national budget. So one may well ask what is the reason for the present timidity on the Democratic side in holding up the early creation of such an Arts Council?' "He next takes aim at the Kennedy administration, pointing out that Presi- dent Kennedy himself (about a year ago when he was a Senator) introduced legislation to save the Doily Madison House, the Benjamin Taylor House, and the Belasco Theater on Lafayette Square, and recalling that the General Fed- eration of Women's Clubs and other organizations support their preservation,. be lets go at two Kennedy men. "`Two men, William Walton, a painter, and John Moore, Administrator of the General Services, like pharaohs or reigning monarchs of an earlier and Un- enlightened period-have decided to proceed with destruction of the Lafayette Square buildings. At this very moment, however, the President has called for spending some $10 million in saving the ancient treasures of the Nile. Recently the President rescued Harvard University from an office building. "`If the Nile treasures and Harvard Yard can be saved, why can't the La- fayette Square buildings be saved-' asks the Congressman. "Neither Pharaoh Walton nor Pharaoh Moore could be reached for an answer to this question. "Numerous other points, were brought. up by. Mr. Kearns in his letter to Mrs.. Boiling. In fact, so many it will be days before he gets an answer. The Re~: publican's epistle was seven pages of single-spaced typewriting. A good rupture over culture may be just what we need to put hearts into the arts." I include the New York Times account of the saving of Harvard Yard at this point in my remarks. "HARVARD, AGAIN "Another item the White House has said nothing about is how, in the midst of questions of national and international import, the President took up a cause with Harvard. ` "It was propOsed that Cambridge, -Mass., sell a- piece of the Common as the- site for a 15-story office building. The land is near Harvard Yard. "The President thought he had better stay out of the fight. But when the- legislature's Democratic majorities pushed through a bill authorizing the sale, he quietly let his views be known in the right places. "Kenneth P. O'Donnell, class of 1049, and special assistant to the President,. phoned leading State Democrats urging them not to make the project a party' issue. "McGeorge Bundy, Yale 1940, and a Republican, former dean of the Harvard~ faculty, and now special Presidential assistant for national security affairs,. passed:the word:to some Republicans. "Also active was Mr. Kennedy's one-time Senate colleague from the Bay State,. Leverett Saltonstall, a Republican. "Last week, Republican Gov. John A. Volpe vetoed the bill. The State senate,. with some Democratic support, upheld the veto." Nationwide support is growing for legislation to preserve the historic build- ings on Lafayette Square in the Nation's Capital. This legislation was intro-- duced only last year as S. 3280 when he was a Senator by President Kennedy. Other good Democrats cosponsoring the legislation at that time were: Senators: Humphrey, Morse, Douglas, Murray, Hennings, Mansfield, and Gruening. Very little has been heard from these distinguished legislators this year, however. However, this year the President's good friend, John Sherman Cooper, Sen- ator Wayne Morse, and I have introduced legislation which would carry out the purposes of S. 3280. Three great organizations of American women are carrying on national cam- paigns to save the historic buildings on Lafayette Square. They are: the- General Federation of Women's Clubs, the Daughters of the American Revolu- tion, and the National Federation of Music Clubs. The Daughters of the American Revolution adopted unanimously, with- applause, a resolution presented by Miss Gertrude S. Carraway, honorary presi-- dent general, on April 20, 1961, deploring the fact that "one-fourth of the his- PAGENO="0191" AID TO FINE ARTS 183 torically significant buildings in this country have been destroyed during the last 20 years" and calling for the preservation of the Lafayette Square buildings. It is a brash generation, indeed, which will destroy all physical evidences of its great heritage. Two men, William Walton, a painter, and John L. Moore, Administrator of the General Services Administration-neither one of them an elected official and, indeed, only one of them a public official accountable to the people of the United States-like pharaohs or reigning monarchs of an earlier and unen- lightened period, having walked around Lafayette Square, decided to proceed with the destruction of the Lafayette Square buildings. I was always taught that this was a representative government, and that Federal officials were elected or appointed to carry out the will of the people. Otherwise, why have elections? Perhaps this is just an antique Republican notion, but it is one which I have held for many, many years. Elections could be won on this matter, since 80 million people visit our historic sites and buildings each year. The situation regarding the historic buildings on Lafayette Square is unique, I think. No public hearings were held by either the Public Works Committee of the Senate or the House on the question of whether the historic buildings on Lafayette Square should be saved. So, here is the sequence. First, no public hearings by the Senate or House. Second, the decision is taken, without such public hearings, to destroy the historic Lafayette Square buildings. Third, neither the Senate nor the House is permitted to vote on the issue of the destruction of the Lafayette Square buildings. Fourth, the Admin- istrator of. General Services, John L. Moore,. and the painter, William Walton, walk around the square and comniumng together decide finally to ignore the people of the United States and to destroy the historic Lafayette Square build- ings: the Dolly Madison house, the Benjamin Tayloe house, and the Belasco Theater. A German language publication, the Washington (D.C.) Journal, reported, on May 5, this year, that steps were under consideration to restore the Belasco Theater as the . Beethoven Operahouse, as a bond of friendship between the American and German people. The cost would be borne by the German Govern- ment, it is said. Some months ago a bipartisan drive saved New York City's Carnegie Hall-- certainly no greater a cultural facility than the Belasco Theater-from destruc- tion. The Carnegie Hall drive was headed by Mayor Robert Wagner, Gov. Nelson Rockefeller, Mrs. Franklin Delano Roosevelt, and Isaac Stern. The New York Times reported on April 8. 1961, that President Kennedy proposed on April 7 that a $10 million U.S. contribution be made to preserve ancient Nubian temples and other monuments on the Upper Nile. The New York Times declared: "He asked Congress to authorize U.S. participation in an international effort to save antiquities marked for inundation by the Soviet-financed Aswan Dam, v~ hich is being built in the United Arab Republic "The President suggested that the United States finance alone the estimated $6 million cost of preserving the "Pearl of Egypt," a group of temples on the Island of Philae, between the old and new Aswan Dams. They now are sub- merged part of the year. "Mr. Kennedy also proposed that the United States take part in preserving lesser temples both in the United Arab Republic and in the Sudan, at a cost of $2,500,000, and that it contribute $1,500,000 to speed extensive archeological and prehistory research in areas now unexplored but threatened with flooding." If the Nile treasures and Harvard Yard can be saved by the intervention of President Kennedy then, surely, the historic buildings on Lafayette Square- which are so intimately associated with our own national history-can be saved. I include at this point, the New York Times article on the Nile treasures to which I have referred, and the resolution adopted during the 70th Annual PAGENO="0192" 184 AID TO FINE ARTS Continental Congress of the National Society, Daughters of the American Revolu- tion, in Constitution Hall, Washington, D.C.: [From the New York Times, Apr. 81 "KENNEDY ASKS FUND To SAvE Nn~E RELICS "(By W. H. Lawrence) "WASHINGTON, April 7.-President Kennedy proposed today a $10 million U.S. contribution to preserve ancient Nubian temples and other monuments on the Upper Nile. "Mr. Kennedy disclosed that the United Arab Republic and the Sudan, in whose territories the antiquities lie, had offered to cede to assisting countries part of the finds made as a result of new excavations to be included in the program. "He asked Congress to authorize U.S. participation in an international effort to save antiquities marked for inundation by the Soviet-financed Aswan Dam, which is being built in the United Arab Republic. "The President suggested that the United States finance alone the estimated $6 million cost of preserving the "Pearl of Egypt," a group of temples on the Island of Philae, between the old and new Aswan Dams. They now are sub- merged part of the year. "Mr. Kennedy also proposed that the United States take part in preserving lesser temples both in the United Arab Republic and in the Sudan at a cost of $2,500,000, and that it contribute $1,500,000 to speOd extensive archeological and prehistory research in areas now unexplored but threatened with flooding. "However, Mr. Kennedy deferred any U.S. participation in a major project, estimated to cost $60 million to $80 million, to save Abu Simbel, the most majestic 0 the threatened Egyptian antiquities. He said the engineering problems con- cerning preservation of the temples, which are hewn out of solid rock, entailed "serious difficulties." and required further studies. "All the expenditures proposed by Mr. Kennedy already are available in Egyptian pounds accumulated as a result of U.S. mutual aid expenditures. He said all the needs could be met from funds already determined to be in excess of prospective U.S. requirements. "In parallel letters to the Speaker of the House and the President of the Senate. Mr. Kennedy said the United States should join with the United Nations Educational, Scientific, and Cultural Organization to prevent `what would other- wise be an irreparable loss to science and the cultural history of mankind.' "He noted that the Governments of the United Arab Republic and the Sudan had offered to `cede, with certain exceptions, at least half of the finds of the parties carrying out excavations in Niibia.' He said he would name a commis- sion of leading Egyptologists and Government officials `to make plans for the acquisition and distribution of the antiquities ceded to the United States as a result of our contribution.' * "`In making these funds available,' the President continued, `the United States will be participating in an international effort which has captured the imagination and sympathy of people throughout the world. By thus contribut- ing to the preservation of past civilizations, we will strengthen and enrich our own.' "He suggested that the first U.S. contribution should match the cost of pre- serving the ~reco-Roman temples of Philae, sacred island of Isis, Egyptian goddess of motherhood and fertility. They are considered the second most important group of monuments on the upper Nile. "The project on which Mr. Kennedy held up a recommendation involves tre- mendous engineering problems. The great temples of Abu Simbel are flanked by four 67-foot-high figures of Rameses II carved during the 13th century B.C., as w~ll as other statuary. "The President told Congress that two major plans had been advanced for saving these monuments. One, he said, recommends building a cofferdam around them and the other proposes to sever the temples from the cliff of which they are a part and lift them 200 feet to the future level of the Nile. `Each of these plans entails serious difficulties,' he observed, `and further studies are being made. Therefore, I feel it would be premature to recommend, at the present time, that any U.S. funds be provided for this purpose.'" PAGENO="0193" AID TO FINE ARTS 185 The following statement was read Thursday morning, April 20, .1961, by Miss Gertrude S. Carraway, of New Bern, N.C., honorary president general, during the 70th Annual Continental Congress of the National Society, Daughters of the American Revolution, in Constitution Hall, Washington, D.C. Miss Carraway offered the motion, seconded by Mrs. F. Clagett Hoke, of Jeffersontown, Ky., and was passed unanimously, with applause, by the large assemblage of members, NSDAR: "Too late for consideration by the resolutions committee, a matter of historical importance to all patriotic Americans has been called to our attention by Con- gressmen belonging to both political parties. "One-fourth of the historically significant buildings in this country have been destroyed during the last 20 years. "By decision of two officials, without public hearings, I am informed, the houses of history fronting on Lafayette Square here, a veritable forecourt for the White House, are slated, unnecessarily and unwisely, for immediate removal to make way for a Federal building. "Both Democratic and Republican Congressmen are gravely concerned and have earnestly requested the aid and interest of Daughters of the American Revolution, not only to help save the Dolly Madison House, the Benjamin Tayloe House, and other historical and cultural structures in the Nation's Capital but also to assistwith the passage of congressional legislation to provide for the publication of a compilation of historic sites throughout the country and for the preservation of antiquities of national significance in all parts of the United States. "From its beginning one of the main objectives of our National Society, as set~ forth in our bylaws, has been the protection of historical spots. Our members have long realized that from living history we are much more apt to want to prove worthy of our rich heritage by working for better citizenship in the present and a greater Nation in the future. "Due largely to our DAR examples and teachings, citizens in general are at long last becoming increasingly interested in American history and the value of holding relics of past importance in trust for the generations to come. "Bills along these lines have been recently introduced and sponsored by Congressmen of both parties. In my judgment, they merit and deserve the careful study and active support of our members in their endeavors to stop the wanton destruction of historical, cultural and architectural gems. "Accordingly, I move that Daughters of the American Revolution be urged to write to the President of the United States and to Cong~ressmen registering support and interest in efforts to preserve historic sites and other symbols of our American heritage." In February 1961 I introduced a bill to establish a Commission on the Cultural Resources in the Nation's Capital, and to provide a comprehensive plan for the effective utilization of such resources in carrying out a long-range program to make the Nation's Capital equal in cultural matters to the capital cities of other great nations. Similar measures were introduced by Senators John Sherman Cooper and Wayne Morse, and by our colleague, the gentleman from New York, Mr. Powell. So here is a bipartisan measure which deserves Presidential support. Per- haps this is forthcoming, because, in a speech to fund-drive workers of the Na- tional Symphony Orchestra, the new Assistant Secretary of State for Educa- tional and Cultural Affairs, Philip H. Coombs, called for a great overall plan to give the significant overarching cultural climate needed to make it possible for the Nation's Capital to take its rightful place besides other capital cities of the world with regard to the fine arts. * A study by the Library of Congress which the distinguished gentleman from Delaware, Mr. McDowell, and~ Senator Hubert H. Humphrey, inserted in the Congressional Record last year showed that the municipal government of Wash- ington, D.C., spends annually only the piddling sum of $16,000 on the fine arts. This can be compared to the $800,000 which San Francisco, a smaller city, spends on the arts~ It was facts such as these, doubtless, which led the New York Times, Time magazine, the Reporter magazine, the Christian Science Monitor, and other publications to deplore the lack of cultural progress of the Nation's Capital. The Nation's Capital has been described in such unflattering terms as "hick town" and "cultural backwater" by these national publications. W. H. Kiplin- 70259-61---13 PAGENO="0194" 186 Am TO Fn~ ARTS ger, publisher of the Kiplinger Newsletter, a native Washingtonian, has declared that Washington, D.C., has no homegrown culture, such as London, Vienna, and other European capital cities have, and `that such culture as it does have is brought in and pasted on. The Congress controls the purse strings of the Nation's Capital, and allocates local taxes raised locally-a function of city governments alone elsewhere in the United States. So, a word from the President to the Democratically controlled Congress could quickly raise the $16,000 to a respectable sum. Let us hope that he will soon move on this matter. In 1942 the Congress established the District of Columbia Recreation Depart- ment and gave it extensive authority in the fine arts. President Franklin Delano Roosevelt signed this act into law. Some discerning students of government have compared this law, in its pos- sible significance, to the British Arts Council. The Congress allocates the $16,000 for `local art programs to the District of Columbia Recreation Department. Now, I admit that $16,000 is better than nothing, but when we have spent more than $85 billion abroad in recent years- and this has helped other nations restore opera houses, and carry on cultural programs of important and significant extent-then it does seem to many cul- tural leaders that Congress ought to do something which would permit the residents of our Nation's Capital to spend 1 mill out of each tax dollar of their own local revenue for cultural activities. This would provide a tidy sum of $180,000 a year for art and make it possible for the Nation's Capital to shed the "hick town" status immediately. Bills have been introduced by a number of Democrats, including Senators Humphrey, and Morse, and the gentleman from Delaware (Mr. McDowell) which would allocate to art 1 mill out of each tax dollar raised locally. So far they have failed to get the nod of the President. I forgot to mention that in his bill, H.R. 4348, the gentleman from New York (Mr. Powell) called for the effective development of the human and other cul- tural resources in the District of Columbia without regard to race or color, a necessary step in view of the undemocratic hiring and employment policies per- sisted in by such cultural organizations as the National Symphony Orchestra despite the contribution of the American Negro to our Nation's culture. The gentleman from New York (Mr. Powell) declared on March 20, 1961: A thorough search would surely find Negro musicians capable of playing in the National Symphony Orchestra." He went on to say, in a statement which appears in the Congressional Record of that date that: "If it is simply a matter of not being able to find a competent Negro musician, and not a matter of bias reinforced by hiring only through a Jim Crow local of the American Federation of Musicians, then there is a simple solution. That solution is to make a more thorough search. "Because I am confident that competent Negro musicians can be found who will add luster to the National Symphony Orchestra I hereby offer my own services in an effort to find a Negro instrumentalist for the orchestra. "The National Symphony Orchestra should represent to all the world our high standards and aspirations as a Nation and as a people, and our part in and contribution to Western civilization. "The National Symphony Orchestra has represented this Nation on its tours abroad under the sponsorship of the Department of State and as part of the President's program for cultural exchange which is financed by taxes which are paid on a nonsegregated basis. "That the National Symphony Orchestra does not have a single Negro instru- mentalist in its ranks despite the vast contribution of the American Negro to our Nation's musical culture, a contribution which is universally acknowledged by people of all nations, is matter to be deplored. V "Top Government officials have shown deep concern in the case of the non- referral of Negroes to employers and contractors working on Federal buildings or holding Federal contracts. "Surely, the fact that there has never, in the entire time that the National Symphony Orchestra has been in existence, been even one Negro employed by this musical organization should also be a matter of public concern. "The National Symphony Orchestra has been included in the budget for the first time, and Members of Congress will soon be asked to appropriate funds to PAGENO="0195" AID TO FINE ARTS 187 it. These funds are small in amount, and far from what a city the size of Wash- ington should be contributing to its orchestra if we are to judge by what other American cities contribute. "But, in any event, the National Symphony Orchestra and the Board of Com- missioners of the District of Columbia should come to the Congress with clean hands and, especially, in view of the worldwide interest in what we as a people do about solving our own problems of bias and prejudice, they should make an honest attempt to end the longstanding bias of the National Symphony Orchestra against Negro musicians." Now I read in the New York Times: "RACIAL CURBs BANNED-KENNEDY CAUTIONS AGENCIES ON RECREATIONAL GROUPS "WAsHINGTON, April 20.-President Kennedy ordered Federal agencies Thurs- day to take immediate and specific action to bar the use of their names or facil- ities to any employee recreational groups that practice racial discrimination. "`Current practices in each department are to be brought into immediate compliance with this policy, and a report by the head of each executive agency filed to that effect before May 1, 1061,' the President said in a memorandum to the heads of all departments and agencies. "Pierre Salinger, White House press secretary, said he did not consider the memorandum to be based on anything specific when asked if the President was hitting at any particular group.or agency. "Mr. Kennedy said his order was in line with his March 6 Executive order affirming, that `discrimination because of race, creed, color, or national origin is contrary to the constitutional principles and policies of the United States.'" The newspapers report that the National Symphony Orchestra, about which the Democrats are hurling these segregation charges, is using the new State Department auditorium for its concerts. Will the Secretary of State, Dean Rusk, actually bar the National Symphony Orchestra from use of the fine new auditorium in the State Department, which the President uses for press conferences? Or does the President's order with regard to segregation apply only to Federal employee organizations? Of course, it may be argued that the Democratic charges that the National Symphony Orchestra is biased in its hiring practices have nothing to do with art. This is true, for the charges are only more politics. One is inclined to suspect that politics are involved because, or so it is said, all other major American symphony orchestras have exactly the same hiring policies that the National Symphony Orchestra does. In any event, to sum up, it is clear that the Democrats have done little for the arts during the first 100 days of the new administration to carry out their campaign promises of last fall. The destruction of the Lafayette Square buildings will give our country a definite and major setback in world opinion. The lack of response to the people by the Democrats in this regard is monu- mental, and is more typical of a monarchial form of government than of a democracy or a republican form of government such as ours is. The Democrats are going to have to do much better than they have done so far to match the splendid record of President Dwight Eisenhower in the arts. Among the cultural steps taken during the Eisenhower administration was enactment of the Humphrey-Thompson Act-Public Law 860, 84th Congress- under which our great orchestras, artists, and talented groups from our colleges and universities are sent overseas to demonstrate the cultural accomplishments of the people of our country and to counteract Russian propaganda that we are a nation of materialists. Other steps taken under President Eisenhower included the adoption of the Thompson-Fulbright National Cultural Center Act;. and the Thompson-Hum- phrey-Anderson Act transferring the historic Patent Office Building to the Smith- sonian Institution as a permanent home for the National Collection of Fine Arts which the Congress established in 1840. The Patent Office Building, designed by the great archite~t, Robert Mills, who designed the Washington Monument and the Treasury Department Building, will also house a National Portrait Gallery. These are far-reaching and important steps of which the Republican Members of the Congress and President Eisenhower can be proud. PAGENO="0196" 188 AID TO PINE ARTS [From the Congressional Record, Mar. 20, 1961] A THOROUGH SEARCH WOULD SURELY FIND NEGRO MUSICIANS CAPABLE OF PLAYING IN THE NATIONAL SYMPHONY ORCHESTRA (Extension of remarks of Hon. Adam C. Powell of New York in the House of Representatives Monday, Mar. 20, 1961.) Mr. PowarL. Mr. Speaker, the manager of the National Symphony Orchestra, Mr. Raymond F. Kohn, was quoted in the Washington, D.C., Afro-American on March 4, 1961 as follows: "There cannot conceivably be a color line in the National Symphony." Mr. Kohn then outlined to the reporter of the newspaper, Don Harewood, the procedure used for audlitioning new talent. He said: "We hold two types of auditions annually. First we notify the union (Local No. 161 of the American Federation of Musicians) that a vacancy~ or vacancies exist. "If we are unable to find talent locally then our personnel director sends out a call to music schools, colleges. They are requested to recommend persons who it is felt can meet our qualifications. "Sometimes even the orchestra members recommend people whom they know. "There is one primary requisite for an applicant who desires an audition. lie must have a repertoire. "This means that the applicant must have some knowledge of the symphonic standards, i.e., Bach; Beethoven; Tschaikovsky, etc." He added: "Why, we even have a contest every year, the Merriweather-Post Contest, which is open to all." If it is simply a matter of not being able to find a competent Negro musician, and not a matter of bias reinforced by hiring only through a Jim Crow local of the American Federation of Musicians, then there is a simple solution. That solution is to make a more thorough search. Because I am confident that competent Negro musicians can be found who will add luster to the National Symphony Orchestra I hereby offer my own services in an effort to find a Negro instrumentalist for the orchestra. The National Symphony Orchestra should represent to all the world our high standards and aspirations as a Nation and as a people, and our part in and contribution to Western civilization. The National Symphony Orchestra has represented this Nation on its tours abroad under the sponsorship of the Department of State and as part of the President's program for cultural exchange which is financed by taxes which are paid on a nonsegregated basis. That the National Symphony Orchestra does not have a single Negro instru- mentalist in its ranks despite the vast contribution of the American Negro to our Nation's musical culture, a contribution which is universally acknowledged by people of all nations, is a matter to be deplored. Top Government officials have shown deep concern in the case of the non- referral of Negroes to employers and contractors working on Federal buildings or holding Federal contracts. Surely, the fact that there has never, in the entire time that the National Symphony Orchestra has been in existence, been even one Negro employed by this musical organization should also be a matter of public concern. The National Symphony Orchestra has been included in the budget for the first time, and Members of Congress will soon be asked to appropriate funds to it. These funds are small in amount, and far from what a city the size of Wash- ington should be contributing to its orchestra if we are to judge by what other American cities contribute. But, in any event, the National Symphony Orchestra and the Board of Com- missioners of the District of Columbia should come to the Congress with clean hands and, especially, in view of the worldwide interest in what we as a people do about solving our own problems of bias and prejudice, they should make an honest attempt to end the longstanding bias of the National Symphony Orchestra against Negro musicians. PAGENO="0197" AID TO FINE ARTS 189 I include, as part of my remarks, the article from the Washington Afro- American to which I have referred: "NATIONAL SYMPHONY PLAYS WAY OUT OF TUNE ON HIRING POLICIES SAYS REPRESENTATIVE POWELL (By Don Harewood) "The National Symphony Orchestra of Washington, D.C., has been accused of racial discrimination in its hiring policies by Representative Adam Clayton Powell. "Calling attention to the `undemocratic hiring and employment policies per- Sisted in by the orchestra,' Representative Powell introduced a bill, H.R. 4348, to establish a Commission on the Cultural Resources in the Nation's Capital, and to provide a comprehensive plan for the effective utilization of such resources without regard to race or color. "Exactly 8 days later, the Young Democratic Club of the District of Columbia likewise called for an end to the `whites only' hiring policy of the National Symphony Orchestra. "The National Symphony, however, has strongly denied any discrimination in its hiring policy. "In an interview with an Afro reporter Mr. Raymond F. Kohn, manager of the National Symphony, was asked, `Is there any discrimination in your hiring or employment policies?' "Mr. Kohn declared, `There cannot conceivably be a color line in the National Symphony.' "Mr. Kohn was also asked, `Have you ever hired personnel through Local No. 710 of the American Federation of Musicians?' (This is the segregated musi- cians' union for colored musicians in the District.) "Mr. Kohn exclaimed, `Do you know that I have never heard of local 710 until recently.' "Mr. Kohn then outlined the procedure used for auditioning new talent. He said, `we hold two types of auditions annually! First, we notify the union (Local No. 161 of the American Federation of Musicians) that a vacancy or vacancies exist. "`If we are unable to find talent locally then our personnel director sends out a call to music schools, colleges. They are requested to recommend persons who it is felt can meet our qualifications. "`Sometimes even the orchestra members recommend people whom they know. "`There is one primary requisite for an applicant who desires an audition,' he continued. `He must have a repertoire. "`This means that the applicant must have some knowledge of the symphonic standards, i.e., Bach; Beethoven; Tschaikovsky, etc.' "He stated, `Why, we even have a contest every year, the Merriweather-Post contest, which is open to all.' "Then, With a puzzled expression he asked, `Why hasn't local No. 710 made an inquiry of the National Symphony? Why have they not come forth?' "The Afro also contacted the president of Local No. 161 of the American Fed- eration of Musicians, a Mr. Kaufman. "This local, along with local No. 710, was mentioned in the resolution passed by the Young Democratic Club of the District of Columbia. "Mr. Kaufman said flatly that certain sections Of the resolution had no basis in fact. `If a qualified colored musician came up he would be accepted,' he told the Afro. "`We do have a contract with the National Symphony Orchestra which is not exclusive, and it is not restrictive since all hiring is done on the basis of qualifica- tion of the applicant,' he said. "When asked whether or not a nonunion musician who applied for an audition would be allOwed to join the union, Mr. Kaufman said `No.' "Later, the question was put to him in this manner: `If a man who through his own initiative and aggressiveness, though not a union member, managed to secure employment with the National Symphony, would he then be permitted to join the union?' "Mr. Kaufman said, `under those conditions we would accept him. But in the last 6 years not one colored person has made application for an audition.' PAGENO="0198" 190 AID TO FINE ARTS "This last statement, however, would appear to contradict information sup- plied by Howard Mitchell, music director and conductor of the National Sym- phony Orchestra. "Mr. Mitchell informed Mr. Kohn that he had auditioned a colored cellist in New York last year, but that he did not have a repertoire at that time and failed to qualify. "District residents remember Mr. Mitchell as the man who led the fight against the DAB which opened the way for colored performers to appear on the stage of Constitution Hall. "Mr. Mitchell also invited Dr. Warner Lawson to direct the National Sym- phony Orchestra in ~Ianuary 1955 and several times since. "In addition, he has appeared with the National Symphony Orchestra and the Howard University Choir on numerous occasions." ~H.R. 4348, 87th Cong., 1st sess.1 A BILL To establish a Commission on the Cultural Resources in the Nation's Capital, and to provide a comprehensive plan for the effective utilization of such resources without regard to race or color, a necessary step in view of the undemocratic hiring and employ- meat policies persisted in by such cultural organizations as the National Symphony Orchestra despite the contribution of the American Negro to our Nation's culture Be it enacted by the f~enate and House of Representatives of the United states of America in Congress assembled, That it is the policy of the Congress that a study shall be carried out to develop a comprehensive plan (1) for the effective development of the human and other cultural resources in the District of Colum- bia, without regard to race or color, a necessary step in view of the undemocratic hiring and employment policies persisted in by such cultural organizations as the National Symphony Orchestra despite the contribution of the American Negro to our Nation's culture, (2) the maximum cooperation of governmental authorities and private business in advancing the fine arts, and (3) the utiliza- tion for cultural purposes of suitable buildings (whether public or private) in `the District of Columbia. Such plan shall be developed, after taking into con- sideration the role in the encouragement and `development of the fine arts of the capital cities of other nations, in order that the Nation's Capital may take its rightful place now iii the promotion and encouragement of those artistic and cultural endeavors which make civilization endure and flourish. The plan shall be designed to promote better international understanding and appreciation of the people of the United States and to advailce international peace and good will and shall include, for such purposes, provisions for international competitions and festivals in the fine arts utilizing both professional and educational talent. The plan shall not conflict with other governmental or nongovernmental pro- grams to advance the fine arts such as those provided for in the National Ciii- tural Center Act (Public Law 85-874), or the National Collection of Pine Arts Act (Public Law 85-357), but shall seek to complement and supplement them by the mobilization of cultural resources and their effective mobilization and utiliza- tion in order that the Nation's Capital may become equal in cultural matters to the capital cities of other nations. SEC. 2. (a) In order to develop the plan provided for in the first section there is hereby established a Commission on the Cultural Resources in the Nation's Capital (hereafter in this Act referred to as the "Commission"). (b) The Commission shall be composed of thirty-five members as follows: (1) The chairmen and the ranking minority members of the Committees on the District of Columbia, Foreign Relations, Public Works, and Labor and Public Welfare of the Senate; (2) The chairmen and the ranking minority members of the Committees on the District of Columbia, Foreign Affairs, Public Works, and Education and Labor of the House of Representatives; (3) The Secretary, Department of Health, Education, and Welfare; (4) The Commissioner of the United States Office of Education; (5) The Assistant Secretary of State for Educational and Cultural Affairs; (6) The President of the Board of Education of the District of Columbia; (7) The Superintendent of the District of Columbia Recreation Depart- ment; (8) The Director of the National Collection of Fine Arts; (9) The Administrator of General Services; PAGENO="0199" AID TO PINE ARTS 191 (10) The Chairman of the Commission of Fine Arts; (11) The Director of the National Park Service; (12) Ten distinguished educators and other cultural leaders to be ap- pointed by the President and to hold office at his pleasure. Sue. 3. The Commission shall submit the plan provided for in the first section of this Act to the Congress on or before February 15, 1962. Such plan shall in- clude ways and means of using the existing Government-owned buildings on Lafayette Park as well as other existing buildings (whether public of private) in the Nation's Capital which shall be formulated after taking into consideration the experience of the capital cities of other nations in the encouragement and development of the fine arts as well as the internationally recognized need for a proper setting for the White House consistent with the historic setting for the White Houe. Pending the submission of such plan no funds, whether heretofore or hereafter appropriated, shall be expended for the demolition of existing buildings, or for the planning or construction of new buildings, on Lafayette Park in the District of Columbia. [From the Congressional Record, May 9, 1961] THE JOHN PHILIP SoUsA HOME IN NATION'S CAPITAL Now THREATENED WITH DESTRUCTION BY OFFICIALS INSPIRED BY PROPOSED RAZING OF HISTORIC BUILDINGS ON LAFAYETTE SQUARE Extension of Remarks of Hon. Carroll D. Kearns, of Pennsylvania, in the House of Representatives, Tuesday, May 9, 1961 Mr. KEARNS. Mr. Speaker, I have introduced legislation, H.R. 6893, to provide for the preservation and maintenance of the home of John Philip Sousa, one of America's most beloved composers. The home is located at 318 Independence Avenue SE., Washington, D.C. The building was the first home Mr. Sousa owned, and he occupied it from about 1900 to World War I. The home, a Victorian-type house, has been con- demned by the officials of the District of Columbia despite the fact that it has been planned as a shrine by those concerned with the advancement of American music for at least 20 years. The destruction of the Sousa home by insensitive officials is just one more example of the present disregard for America's historic and culturally Important buildings by top Government officials. During the past 20 years one-fourth of our significant buildings have been destroyed, many of them by Government action. Last week William Walton, a painter, was revealed as the gentleman who, de- spite his lack of any official status, had advised leading Federal Government officials to destroy the Dolly Madison ITouse, and the Benjamin Tayloe House, and the Belasco Theater on Lafayette Square. Various groups of citizens of this Nation have been trying to save the historic buildings on Lafayette Square for 20 years. Mr. Walton was reported by the Washington (D.C.) Star, of May 3, 1961, as saying that "The Dolly Madison House was completely gutted by the Cosmos Club in 1895 so that it no longer has any historical meaning. Inside of the out- side stucco are some original brick walls, that's all. If rebuilt it would be essen- tially a replica. The same thing is true of the Tayloe House, which is of less historical importance." The Washington (D.C.) Star report went on to say: "As for the Belasco Theater, it is so outdated, he said, no theater company would want it. And since its facilities are too limited for theater, the stage would be hopelessly inadequate for the opera." The argument over whether the John Philip Sousa Home, and the historic buildings on Lafayette Square should be preserved will doubtless continue until the present criteria are revised, or until some new and more competent advisers are found. Miss Gertrude Carraway, honorary president general, National Society, Daughters of the American Revolution, indicates that the problem is really a national problem in a recent letter in which she declares: "I am having a similar argument with the National Park Service over their failing to include Tryon Palace in their Registry of Historic Landmarks that you seem to be having in Washington over the failure of `some national authorities' PAGENO="0200" 192 AID TO FINE ARTS to recognize Lafayette Square as possessing exceptional value in commemorating and illustrating the history of the United States." Mr. Walton would have us believe that no one is interested in the Belasco Theater. The Citizens Committee to Save Lafayette Square was formed last year by the Washington Opera Society which was intensely interested in saving the Belasco Theater in a city which has been called a hick town and a cultural backwater by such national publications as the New York Times and Time magazine, because Of its lack of cultural facilities. Other groups interested in preserving the buildings on Lafayette Square are the DAR, the General Federation of Women's Clubs, and the National Federa- tion of Music Clubs. In fact, there is not a single national organization which has demanded the destruction of the buildings on Lafayette Square. Only 1 short year ago the President introduced legislation to save the Lafayette Square buildings in the form of a bill, 5. 3280, and he made a strong speech to rally support for his measure. One can only guess at the number of history-minded Americans who voted for this history-minded candidate in last fall's political campaign on the basis of his well-known and widely heralded drive, in which he was joined by eight leading Democratic Senators, to preserve the Lafayette Square buildings. These votes might have been decisive since the results were close. If the Lafayette Square buildings are destroyed, then this will amount to a repudiation of his position of last fall. The New York Times recently reported how the President intervened to save HarvardYard at Harvard University from an office building: "Kenneth P. O'Donnell, class of 1949, and special assistant to the President, phoned leading (Massachusetts) State Democrats urging them not to make the (15-story office building) project a party issue. "McGeorge Bundy, Yale 1940, and a Republican, former dean of the Harvard faculty, and now special Presidential assistant for national security affairs, passed the word to some Republicans." One can only surmise that there is not a single Presidential assistant with the courage to face up to William Walton and defend Lafayette Square at this crucial period in our history. The New York Times reported on April 8, 1961, that the President asked Congress on April 7 to "authorize U.S. participation in an international effort to save antiquities marked for inundation by the Soviet-financed Aswan Dam, which is being built in the United Arab Republic. "The President suggested that the United States finance alone the estimated. $6 million cost of preserving the Pearl of Egypt, a group of temples on the Island of Philae, between the old and new Aswan Dams. They now are submerged part of the year. "Mr. Kennedy also proposed that the United States take part in preserving lesser temples both in the United Arab Republic and in the Sudan, at a cost of $2,500,000, and that it contribute $1,500,000 to speed extensive archeological and prehistory research in areas now unexplored but threatened with flooding." One way, perhaps the only way, to save such buildings as the John Philip Sousa HOme, and the Dolly Madison and Benjamin Tayloe Houses, would be to replace some of the students of the history of Egypt or Harvard University on the President's staff of advisers with students of the history of our own Nation. A start could be made by bringing in such cultural leaders as Gertrude Carraway of the National Society, DAR; or Helen Sousa Abert, a surviving daughter of John Philip Sousa; Joseph Watterson, editor of the Journal of the American Institute of Architects; Mrs. Ozbirn, national president of.the General Federa- tion of Women's Clubs; or Mrs. Bullock, president of the National Federation of Clubs. I include as part of my remarks the text of my bill, H.R. 6893, and articles from the Washington (D~C.) Post on the John Philip Sousa Home: "H.R. 6893 "A bill to amend the District of Columbia Redevelopment Act of 1945 to provide for the preservation of the home of John Philip. Sousa, and to protect the homes of residents and the businesses and good will of the small businessmen in the vicinity of the United States Capitol Building . . . "Be it enacted by the Seaate and House of Representatives of the United ~S'tates~ og America in Congress assembled, That section 7 of the District of Columbia Redevelopment Act of 1945 (D.C. Code, see. 5-706) is amended by adding at the end thereof the following: PAGENO="0201" AID TO FINE ARTS 193 "`(j) (1) For the purpose of providing for `the preservation, and maintenance as a shrine, of the former home in the District of Columbia of John Philip Sousa, there is:hereby.'established a board consisting of the conductor of the band of the United States Army, the cOnductor of the band of the United States Navy, the conductor of the band of the United States Marine Corps, and the conductor of the band of the United States Air Force, ex officio,'plus ten additional individuals appointed by the President ~s hich shall acquire the home of John Philip Sousa at 318 Independence Avenue, in the District of Columbia, and shall preserve and maintain such home as a shrine dedicated to his memory, and as a museum for the preservation of memorabilia of John Philip Sousa. "`(2) For the purpose of obtaining funds for carrying out this subsection, the board is authorized to accept donations of funds, services, and property, and to conduct a nationwide fund-raising campaign. All departments and agencies of the United States, upon request by the board, shall transfer to the board all memorabilia of John Philip Sousa in the custody or control of such departments and agencies. "`(3) Members of the board shall serve without compensation for their serv- ices as such, but they shall be reimbursed for their expenses of travel and sub- sistence while actually engaged in the performance of the duties vested in the board. There are hereby authorized to be appropriated such sums as may be necessary `to carry out this subsection. "`(k) Until a comprehensive plan has been prepared for the proper develop- `ment, `preservation, and improvement of the physical environs of the United States Capitol Building and the surrounding complex of Federal buildings, including the Senate and House Office Buildings, the Library of Congress, and the United `States Supreme Court, no funds shall be expended for `the acquisition of real property or for the purchase or demolition of existing buildings located `in `the vicinity of the United States Capitol Building and the surrounding complex of Federal buildings.'" _______ [From the Washington Post, May 8, 1961} ."HOME,SLATED AS SHRINE TO SousA Is CONDEMNED "(By Stephen S. Rosenfeld, staff reporter) "The Capitol Hill home of John Philip Sousa, the man who put a nation on `march time, planned as a shrine for 20 years, now faces destruction. "The District has condemned as unsanitary the victorian edifice at 318 Inde- pendence Avenue SE., the first home Sousa owned and where he lived from about 1900 to World War I. Unless' the Condemnation Board is dissuaded or the home repaired, it will be razed. "With it will go the last chance to memorialize America's premier bandsman `within walls that he knew, since his birthplace at 636 G Street SE., was chopped up into apartments. "Efforts to make the home a museum in `the early forties and middle fifties `flopped. But another effort has been mounted. "Sousa's daughter, Helen Sousa Abert of New York, who owns the house, entrusted it a few years back to the Sousa Memorial Committee. "So when `the District told her last week she had only until May 9 to ask for a stay, she turned to the committee. "This, `apparently, is fine by the Condemnation Board. At its meeting Wednes-~ `day it probably will shelve the matter until the committee act's, Director Richard L Mattingly said. "The committee itself will meet informally this week in Coral Gables., Fla., where its chairman, Lt. Col. William F. Santelmann of Arlington, former Marine `Band director, will be visiting Otto Krausha'ar, president of the American Band- masters Association. , Kraushaar ~ ho played in Sousa s band said a fund raising scheme would be mulled over. Mrs. A'bert estimates $50,000 to $100,000 is needed. `"She stands ready, she said, to furnish several rooms with her father's be- longings `and `to give a roomful of his trophies, his music library, `books of press clippings, pictures and such memorabilia as batons. The Library of Congress already has the manuscripts of his marches. "`There's so much talk about culture and the arts in Washington,' said Mrs. Abert, `it would seem rather wicked to drop this. It's unique.'" ` PAGENO="0202" 194 AID TO FINE ARTS [From the Washington (D.C.) Post, May 9, 1961] "MmioRIAL TO `MARCH KING'-HOUsE Bru~ To Piur,srnvE SOUSA HOME WOULD BLOCK CAPITOL HILL EXPANSION "Legislation was introduced yesterday to preserve the Capitol Hill home of John Philip Sousa. The bill includes a provision which would block efforts of the Government to purchase a block of Capitol Hill property. "The bill, introduced by Representative Carroll D. Kearns, Republic of Penn~ sylvania, besides providing for the Sousa memorial, would require a comprehen. sive plan for development, preservation, and improvement before any Federal money could be spent to purchase or demolish buildings in the area around the Capitol. "The Republicans' Capitol Hill Club, at 214 First Street SE., has already been purchased for $600,000 but other residences and small businesses in the area scheduled to be taken over, bounded by Independence Avenue, First and Second Street SE., are still to be affected. The eminent domain procedings have come under attack by area residents who charge that the payments to be made are both inadequate and inequitable. "The Kearns bill would establish a 14-member presidentially appointed board to acquire the Sousa residence at 318 Independence Avenue SE. and maintain it as a shrine. "Kearns submitted the measure after reading in the Washington Post that the residence of the famed bandsman had been condemned by the District as un- sanitary. "If it is razed, it will end years of effort to memorialize Sousa within a home that he knew. His birthplace at 636 G Street SE. is no longer available for a shrine. His birthplace was restored by R. 0. King & Associates into a home quite similar to the original home, but with an apartment on the first floor. "In view of the Condemnation Board's pending action, the Sousa Memorial Committee, which has been entrusted with the preservation of the Independence Avenue dwelling by Sousa's daughter, announced it intended to consider a fund- raising effort to save the home. "Under Kearns' bill, however, the proposed 14-member board would be au- thorized to conduct a nationwide fund-raising campaign. The board would in- elude 10 members appointed by the President and the conductors of the Army, Navy, Marine, and Air Force bands. "The proposed legislation, amending the District Redevelopment Act, goes beyond the preservation of the Sousa home and seeks to protect other Capitol Hill residences and businesses." Wrr.r, DEMOCRATIC APATHY Di~FEAT MOVE To MAKE THE LAFAYETTE SQUARE OPERA HOUSE A LIVING MEMORIAL SYMBOLIC OF THE SPIRrr WHICH HAS ALWAYS UNITED AMERICA AND GERMANY IN S~rrn OF ALL STORMS AND YEARS OF WAR? Extension of remarks of Hon. Carroll P. Kearns, of Pennsylvania, in the House of Representatives, Tuesday, May 9, 1961 Mr. KEARNS. Mr. Speaker, a German-language newspaper, the Washington (P.O.) Journal reported on May 5: "During the past weeks talks had been conducted in the congressional office rooms and in the cultural department of the German Embassy, which proved that the project (to restore the old Lafayette Square Opera House in the Na- tion's Capital as the Beethoven Opera House and as a living memorial to the friendship which unites Germany and the United States in spite of all storms and years of war), which is especially close to the hearts of all Washingtonians, is also of great interest to the German authorities." This seems to me to be an especially meritorious project, and it is my hope that the familiar Democratic apathy toward the arts will not strangle it in of- ficial redtape or smother it with less worthy plans to destroy this great struc- ture in order to build a Federal court building, which could better be located elsewhere. Only last year the President introduced a bill, S. 3280, to restore the Lafayette Square Opera House, which David Belasco once owned, as a civic theater. It can be expected that the President, who is known as a great student of our history, will look with approval on the conversion of the Lafayette Square PAGENO="0203" AID TO FINE ARTS 195 Opera House to the Beethoven Opera House. Certainly he would have strong support from the Republican side of the aisle in such a historic development. I include as part of my remarks the article from the Washington Journal which has been translated for me by the Library of Congress: "WILL BzLAsco THEATER BECOME `BEETHOVEN OPERA HOUSE' ?-GERMAN INTEREST IN TUE RESTORATION OF THE OLD THEATER ON LAFAYETTE SQu~nn-ONE-IL&Is MilLION DOLLARS NEEDED "During the past week talks had been conducted in the congressional office rooms and in the cultural department of the German Embassy, which proved that the project, which is especially close to the hearts of all Washingtonians, is also of great interest to the German authorities. Other European countries, among them Italy and the Netherlands, in the past years expressed their grati- tude to the United States for its active postwar assistance by donating repre' sentative gifts to the American Federal Capital. Within the Federal Republic, the desire to give a lasting token of this gratitude in a suitable form, has been repeatedly expressed. Now a project is being considered, which has a special symbolic significance. "For years a struggle of prominent citizens and numerous organizations of Washington has been going on to preserve historical buildings on Lafayette Square, that park in front of the White House which, among other things, honors such revolutionary generals as Friedrich Wilhelm von Steuben and Thaddeus Kosciuszko. One of the buildings which are threatened to be torn down by the renewal plans of certain ambitious circles, is the old Belasco Theater which, since :1940, has been used for other purposes. Today it serves as a USO soldiers home. From 1895 to 1940, this chamber theater was one of the few cultural centers of our Capital City and generations of Washingtonians experienced unforgettable artistic adventures in its cozy rooms. To be sure, the theater is not large, but is it not a fact, that it is the small opera houses and stages of Europe that belong to the jewels, to those places where one can make music, sing and spin yarns without enormous costs? "BEETHOVEN OPERA HOUSE IN THE FEDERAL CAPITAL "Well, German circles now think not only of rescuing this Washington theater from destruction (in which task they will need an active support of uncounted citizen's associations of Washington and the whole country), but also of its restoration and, while preserving the traditional frame, of converting it into a snug opera house for our city. The name of Ludwig von Beethoven would suit more than any other to symbolize what had always united America and Ger- many in spite of all storms and years of war. "We have learned from the circles which are interested in the preservation of the theater, that the total cost of the restoration of the Belasco Theater would amount to about $500,000-DM2 million. Recently, the Federal Republic offered DM1 million for the preservation of the Nubian Temple of Kalabasha in Egypt. In spite of all savings appeals to all free governments, those in Bonn know that cultural needs require sacrifices which are never spent needlessly. Perhaps, a part of these expenses could be met from contributions by those industrial enterprises and institutions which were able to regain their world importance with the aid of the Marshall plan money. In this way, the gift would not be just a Government matter, but an expression of gratitude of the German people. Congressman Carroll D. Kearns, Republican, of Pennsylvania, who was quite happy to learn about these plans and who, together with his Democratic and Republican colleagues has taken the stand for the preservation of the buildings on Lafayette Square, told us that a European country could hardly select a better form of the expression of its gratitude to America, than this contribution to the cultural life of the capital city. In the meantime, Mr. Kearns. and Con- gressman Harris B. McDowell, Democrat of Delaware, together with other rep- resentatives of the population, continue their campaign for the preservation of the Belasco Theater (which, by the way, has received its name from the un- forgettable manager David Belasco), because the original idea of rescuing the theater through the initiative of the American citizens has not been given up. It is possible, however, that an initiative from Bonn will precede these en- deavors, and erect a lasting cultural memorial in Washington, in the spirit of American-German friendship." PAGENO="0204" 196 AID TO FINE ARTS [From the Congressional Record, Mar. 29, 1961] NATIONWIDE SUPPORT Is GRowING FOR LEGISLATION To PRESERVE THE HIsToRIC BUILDINGS ON LAFAYETTE SQUARE IN THE NATION'S CAPITAL, INTRODUCED BY PRESIDENT KENNEDY LAST YEAR AND BY SENATORS JOHN SHERMAN COOPER, WAYNE MORSE, AND CARROLL D. KEARNS Tuis YEAR \~Extension of remarks of Hon. Carroll D. Kearns, of Pennsylvania, in the House of Representatives, Wednesday, March 29, 1961) Mr. KEARNS. Mr. Speaker, the able and distinguished president of the General Federation of Women's Clubs, Mrs. II. Lee Ozbirn, has written a letter to me in which she outlines the views of the 5 million American women of that great organization, which the Congress itself chartered in 1901, on the important sub- ject of the preservation of the historic buildings on Lafayette Square. Mrs. Ozbirn begins by saying: "I wish to commend you and your colleagues in the 87th Congress for your continued effort to try to preserve the Lafayette Square area." Then, on behalf of the members of the General Federation of Women's Clubs, Mrs. Ozbirn declares that-"we all know that this square and the buildings sur- rounding it has a unique importance because it is the view from the front door of the President's home-the White House. Certainly all Americans who are students of history know of the famous historic houses which include the Dolly Madison House, the Tayloe House, and the Belasco Theater. These buildings depict a very important era of American history and are in keeping with the structure of the White House and should be preserved not just as a monument but they could be used for historic or cultural purposes which would perpetuate the heritage for future generations." This is an extremely interesting proposal, and it is in line with one which I have received from Joseph Watterson, editor, the Journal of the American In- stitute of Architects. In a letter under date of February 29, 1961, to me, Mr. Watterson wrote in part as follows: "The American Institute of Architects deplores the apparently impending destruction of certain buildings fronting on Lafayette Square and the construc- tion of large Federal buildings in their place. Although by now many of the buildings on the square may be of a nondescript architectural character the flavor and charm of the square have not been destroyed. It is still a fitting fore- court to the White House-which it must always be. This fitness would be lost with marble monumentality flanking the square-east and west." "Since the Decatur House, on the northwest corner of the square, and the Blair and Lee houses on Pennsylvania Avenue, are to be preserved, and the new executive office building designed to surround them with low wings and courts, it would seem that the same approach could be taken on the east side of the square. The Madison bouse, on the northeast corner, and the Tayloe house in the middle of the block, are worthy of preservation and restoration, both historically and architecturally. Rather than preserve them purely as monuments, suitable uses can be found for these buildings, as is done in so many of the old cities of Europe. It is a brash generation indeed which will destroy all physical evidences of its great heritage." The General Federation of Women's Clubs and the American Institute of Architects do not stand alone in their concern for preserving the historic flavor and charm of Lafayette Square. Many other organizations and individuals are deeply interested in preserving the Dolly Madison house, the Benjamin Tayloe house, and the Belasco Theater for historic and cultural purposes, as proposed in a bill, S. 3280, which President John F. Kennedy himself, when a Senator, introduced on March 24, 1960. Members of the Senate and House from both parties have introduced legislation for this very same purpose in the 85th, 86th and 87th Congresses. Mr. C. Arthur Bullock, president of the National Federation of Music Clubs, and a citizen of the great State of Pennsylvania, has written me in support of my own bill to save the Lafayette Square buildings, and she has included a letter which she has written to President Kennedy. In her letter to the President, Mrs. Bullock declares that-"Personally and on behalf of the approximately 600,000 members of the National Federation if Music Clubs, this is to express èommendation and appreciation to you for your vital interest and support of the arts in our national life. It is with substantiation by even many specific acts including the introduction of your PAGENO="0205" AID TO FINE ARTS 197 outstanding bill, S. 3280, in the spring of 1960; and a telegram placing impor- tance on music for use in our 1961 National Music Week brochure in conjunction with our annual sponsorship. "May we go on record in support of these bills, introduced in the 1st session of the 87th Congress; and urge your support of their immediate enactment: "H.R. 3982, introduced by Representative Carroll D. Kearns and S. 1020, introduced by Senator. JOhn S. Cooper and Wayne Morse-for establishing a Commission on the Cultural Resources in the NatIon's Capital-these includ- ing the preservation of the historic buildings on Lafayette Square and the Belasco Theater. "We feel that these historic buildings on Lafayette Square in our Nation's Capital should remain protected as historic monuments to our culture; and for the sake of economy as well." The General Federation of Women's Clubs, the National Federation of Music Clubs, and the American Institute of Architects will surely be able to mobilize the grassroots support needed to save the historic buildings on Lafayette Square, for most people would agree that the destruction of these buildings for the stated reasons is unwise and totally unnecessary. Somone has suggested, facetiously, that the way to save Lafayette Square as well as its historic buildings would be to lease everything to Harvard Uni- versity. By way of explanation it was pointed out that Harvard Yard was re- cently rescued from a similar plan for a great office building, but, then, Har- vard Yard had the President of the United States on its side. I include the New York Times account of the saving of Harvard Yard at this point in my remarks. "HARVARD, AGAIN "Another item the White House has said nothing about is how, in the midst of questions of national and international import, the President took up a cause with Harvard. "It was proposed that Cambridge, Mass., sell a piece of the Common as the site for a 15-story office building. The land is near Harvard Yard. "The President thought he had better stay out of the fight. But when the legislature's Democratic majorities pushed through a bill authorizing the sales he quietly let his views be known in the right places. "Kenneth P. O'Donnell, class of 1949, and special assistant to the President, phoned leading State Democrats urging them not to make the project a party issue. "McGeorge Bundy, Yale 1940 and a Republican, former dean of the Harvard faculty, and now special Presidential assistant for national security affairs, passed the word to some Republicans. "Also active was Mr. Kennedy's one-time Senate colleague from the Bay State, Leverett Saltonstall, a Republican. "Last week, Republican Coy. John A. Volpe vetoed the bill. The State senate, with some Democratic support, upheld the veto." What would extremely be helpful, too, would be an observable determination on the part of the leading newspaper publishers of Washington, D.C., and throughout the Nation, to wage an unremitting campaign to save the historic buildings on Lafayette Square. The New York Herald Tribune is currently engaged in a campaign to save the Metropolitan Opera House in New York City from destruction. Carnegie Hall in New York City was saved from de- struction some months ago, so it would be instructive for such newspapers as the Washington (D.C.) Post, and the Washington (D.C.) Star to study the tech- niques used by New York City's great newspapers in mobilizing the support needed to successfully save buildings and sites of which possess historic and cultural values. I include as part of my remarks the letter I received from Mrs. E. Lee Ozbirn, president of the General Federation of Women's Clubs, as well as an editorital from the New York Herald Tribune urging that the Metropolitan Opera House be saved: "GENERAL FEDERATION OF WOMEN'S CLTJBS, Washington, D.C., March 15, 1961. "Hon. CARROLL D. KEARNS, "House of' Representatives, "Washington, D.C. "DEAR MR. KEARNS: I wish to commend you and your colleagues in the 87th Congress for your continued effort to try to preserve the Lafayette Square area. PAGENO="0206" 198 AID TO FI~ ARTS "We all know that this square and the buildings surrounding it has a unique importance because it is the view from the front door of the President's home- the White House. Certainly all Americans who are students of history know of the famous historic houses which include the Dolly Madison house, the Tayloe house, and the Belasco Theater. These buildings depict a very im- portant era of American history and are in keeping with the structure of the White House and should be preserved not just as a monument but they could be used for historic or cultural purposes which would perpetuate the heritage for future generations. "The General Federation of Women's Clubs continuously works for the preser- vation of the early cultural and historic influences for future generations. We know that there are those who think progress is measured by a new and chang- ing pattern but we would remind them that in a few decades the structures of today will be old and obsolete and will be torn down but let us remember that buildings of today are not symbolic of our early history. Only the authentic buildings of the early days of our national development depict our progress and our heritage." "We do not want to see our generation destroy things that have long been accepted as historic. We believe that the beautiful surroundings of the Presi- dent's home should be preserved and the White House should not be situated in the shadow of high, modern stonebuildings. "We appreciate what Senator Ellender has said about the preservation of the Lafayette Park area and we think his leadership will surely be worthy of sincere consideration. We commend Senator Ellender for his attitude and his willingness to devote much effort to a cause that some feel is lost. "I should like to urge that action taken by the 86th Congress to have the buildings on the east side of Lafayette Square demolished be rescinded. I have great hopes this this will be done because President Kennedy, when a Senator in the 86th Congress, presented a bill to preserve them and because both the President and our lovely First Lady have the wisdom and the desire to restore the White House to its original charm, it surely would be a grave mistake, at the very time they are making every possible effort in restoring the White House, to destroy the historical surroundings. Surely it is more pleasant for the occu- pants of the White House to look out upon the lovely surroundings than to look out upon cold stone structure that overshadow their home. "Again I wish to commend those who would preserve the beautiful Lafayette Square area in our Nation's Capital, and I trust your efforts will be fully rewarded. "Most sincerely, "Mns. E. LEE OZBIRN, President." [From the New York Herald Tribune, Mar. 26, 1961] "Monu ABotrr SAVING THE METROPOLITAN "Judging by readers' letters to the editor of the Herald Tribune, there is con- siderable public interest in the future of the present Metropolitan Opera House. "The question, to state it once again, is not whether the old house should con- tinue to serve as the home of the Metropolitan Opera Co. after l9~4. That is when the Met will move to its new home at Lincoln Center and no one has any thought that it should try to remain at its old stand a moment longer than it has to. "The question is what will happen to the old opera house once the present company pulls out? Should it be torn down and replaced by an office building, as the Met management desires? Or should an attempt be made to preserve it as an auditorium that still can play a useful part in New York's entertainment and cultural activities? "Several correspondents have pointed out the deficiencies of the present Met building from the standpoint of audiences and performers alike. Shortcomings it has in abundance, and some of these may have to be corrected if the building is preserved. "But even when allowances are made for the side seats with no view of the stage, the inadequate storage facilities, the cramped quarters and outdated equipment, the fact remains that foreign ballet companies and other visitors have been able to play at a profit in the old theater on 39th Street. And it seems PAGENO="0207" AID TO FINE ARTS 199 reasonable to expect that there would be impresarios ready to book such attrac- tions into the old Met once its present company vacates it. "If New York had a superabundance of capacious theaters suitable for use in the international cultural exchange era we are just entering, there might be no impulses to save the Met except nostalgia and sentimentality. But in point of fact, New York has a lack of `such `theaters. At present, large-scale foreign companies must play either in the present Metropolitan Opera House during the Met's off-season, or at the City Center. If both of these buildings are gone when Lincoln Center is operating, only the new Metropolitan Opera House will offer a 3,000-plus seat capacity, and this will be preempted by the Met itself most of the year. "So, it's entirely possible that the old opera house, with all its flaws, still might have some serviceable years ahead of it. In any case, we believe the pros and cons should be carefully weighed-and not merely by the directors of the Metropolitan, who own the building, but by the citizens of New York, whose future pattern of cultural growth may be deeply influenced by the decision." NOTES ON A SPEECH To BE DELIVERED IN THE HOUSE OF REPRESENTATIVES Over the weekend I read several articles in the Washington Post and the Evening Star about the "Salute to the Arts" luncheon held April 2T at the May- flower Hotel by the Women's National Democratic Club. The theme was, "What I Would Do for the Arts if I Were President for a Day." The distinguished speakers were Cornelia Otis Skinner, actress; Philip C. Johnson, architect; George Balanchine, director of the New York City Ballet; Miseha Elman, violinist; Paul Horgan, Pulitzer and Bancroft prizewinner for literature; and Larry Rivers, a painter with the distinction of having his paintings in the Museum of Modern Art, the Metropolitan, the Whitney, and the Corcoran Galleries in New York and Washington. In a bipartisan spirit of good neighborliness, I would like to offer a few suggestions to Mrs. Betty B. Ross, luncheon chairman, Mrs. Joseph E. Casey, Mrs. Clark Clifford, Mrs. Clifford Davis, and Mrs. Ned Russell for advancing the fine arts in the United States. Surely, if we are to advance the arts this can only be done on a bipartisan basis. You will recall, I am sure, that in his 1955 message on the state of the Union, President Eisenhower declared that "The Federal Government should do more to give official recognition to the importance of the arts and other cultural activities." At that time he recommended that the Congress establish a Federal Advisory Council on the Arts. So far, this has not been done, so, perhaps, the first suggestion I would make is that the President call on the Congress to quickly establish such a National Arts Council. Six years is an awfully long time to wait for the establishment of such a new Federal advisory agency. The contemplated budget is only $50,000. When our gross national product is over $500 billion, it can be seen that such a step would scarcely unbalance the national budget, so one may well ask what the reason is for the present timidity on the Democratic side in holding up the early creation of such an Arts Council2 Among the cultural steps that were taken during the Eisenhower admin~ istration were: The enactment of the Humphrey-Thompson Act, Public Law 860, 84th Congress, otherwise known as the International Cultural Exchange and Trade Fair Participation Act of 1956, under which our great orchestras, and artists, as well as talented groups from our colleges and universities, were sent overseas to demonstrate our high cultural accomplishments, and to counter- act Russian propaganda that ours was a nation of materialists. Others steps taken under President Eisenhower included adoption of the Thompson-Fulbright National Cultural Center Act, and the Thompson- Humphrey-Anderson Act transferring the historic Patent Office Building (pres- ently occupied by the Civil Service Commission) to the Smithsonian Institution for Art Museum purposes and to house the National Collection of Fine Arts. I don't want to bore you with this recital but I did want to set the record straight. Many people are beginning to think that the art interest of the Fed- eral Government, the President, the Congress, and top administration leaders began with the invitation extended to Robert Frost, the great poet, and 150 other cultural leaders to attend the inaugural ceremonies in January 1961. Now for some of the other steps which could be taken to advance the fine arts. PAGENO="0208" 200 AID TO FINE ARTS I have introduced a bill, HR. 1942, to establish a program of.grants to States for the development of programs and projects in the arts. This measure has been cosponsored by Senator Joseph S. Clark, Jr., and by Representatives Frank Thompson, Jr., Adam Clayton Powell, Frank Cheif, and Emanuel Celler. It calls for only $5 million a year to aid the arts, which is roughly what Great `Britain gives the arts through the British Arts Council. There are 30 or so Federal grant-in-aid programs going forward to assist in building hospitals, highways, etc., etc. Surely the arts-as well as education-deserve Federal recognition and support. This is a program with which the Congress is familiar, and which is sponsored by leading Democrats. A message from the President could get this program underway by next year at the latest. When it is remem- bered that every other major nation in the world aids the arts except the United States, it is hard to explain why America has done so little to assist the fine arts in a way which will make our fine wOrds have meaning. Our people need vision at all times, and the typical movie and television fare which our young people are subjected to makes it mandatory for our great Nation to provide a nobler fare for all of our people-not just for those who can pay the inflated box office prices of operas, theater, and symphony concerts today. Last fall, during the political campaign, President John F. Kennedy was asked to express his views on a bill to provide $5 million a year for art through a federally supported foundation. He was a Senator at that time and he replied: "I am in full sympathy with the proposal for a federally supported foundation to provide encouragement and opportunity to nonprofit, private, and civic groups in the performthg arts. When so many other nations of- ficially recognize and support the performing arts as a part of their national cultural heritage, it seems to me unfortunate that the United States has been so slow in coming to a similar recognition." I shall look forward with keen anticipation to an early message to the Congress from President Kennedy on this subject, and shall only note that o months have already elapsed without a word from him on this. In February 1961, I introduced a bill to establish a Commission on the Cultural Resources in the Nation's Capital, and to provide a comprehensive plan for the effective utilization of such resources in carrying out a long-range program to make the Nation's Capital equal in cultural matters to the capital cities of other nations. Similar measures were introduced by Senators John Sherman Cooper and Wayne Morse, and by Representative Adam Clayton Powell. So here, too, is a bipartisan measure which deserves Presidential support. In fact, in a speech to fund-drive workers of the National Symphony Orchestra, the new Assistant Secretary of State for Educational and Cultural Affairs, Philip H. Coombs, called for a great overall plan to give the significant overarching cultural cli- mate needed to make it possible for the Nation's Capital to take its rightful place beside other capital cities of the world with regard to the fine arts. A study by the Library of Congress, which Congressman Harris B. McDowell, Jr., of Delaware, and Senator Hubert H. Humphrey, of Minnesota, inserted in the Congressional Record last year, showed that the municipal government of Washington spent annually the piddling, sum of $16,000 on fine arts. This can be compared to the $800,000 which San Francisco, which is 100,000 smaller than Washington in population, spends on the arts. Facts such as these, led the New York Times, Time magazine, ,the Reporter . magazine, the Christian Science Monitor, and other publications to deplore the cultural progress of the Nation's Capital. The Federal City of Washington has been called such un- flattering things as "hick town," and "cultural backwater" by national publica- tions. W. H. Kiplinger, publisher of the Kiplinger Newsletters, a native Wash~ ingtonian, declares that Washington has no homegrown culture such as London, Vienna, and other European capital cities have. In 1942 the Congress established the District of Columbia Recreation Depart- ment and gave it extensive authority to conduct programs in the fine arts. President Franklin Delano Roosevelt signed this act into law. The President and other leading Democrats of those years saw this Department as the vehicle to `provide creative opportunities for the hundreds of thousands of Federal employees,' many of them single men and women of tender ages, living in room- ing houses of uncertain vintage. Until the last few years, the Congress provided little or no funds to carry out the ambitious cultural program in the fine arts provided in this act. Now, the Congress provides the $16,000 `which I mentioned earlier through this act's authority. Now I admit that $16,000 is better than nothing, but I think that is about all one can truthfully say about such a piddling amount. PAGENO="0209" AID TO FINE ARTS 201 For 6 years now, the District of Columbia Recreation Department has had an opera program of high standards. This year it will present "The Student Prince" at Howard University's magnificent new Cramton Auditorium in June, under the sponsorship of Mrs. Lyndon Johnson. The specious budget provided for this activity is $6,000, most of which must be repaid by the opera program. No wonder New York City's great publications, such as the New York Times, and Time magazine, despair about the cultural growth of the Nation's Capital. Please think for just a moment of what the President could do, ~\1rs. Boiling, if he were to take as much interest in this program as President Frankllui De- lano Roosevelt who signed the bill into law creating the District of Columbia Recreation Department. I think I should note that the cultural activities of the District of Columbia Recreation Department are completely integrated and that there is no bar to any person because of race, creed, or color. Oh, yes; I forgot to mention that in his bill, H.R. 4348, Congressman Adam Clayton Powell called for "the effective development of the human and other cultural resources in the District of Columbia, without regard to race or color, a necessary step in view of the undemocratic hiring and employment policies persisted in by such cultural organizations as the National Symphony Orchestra despite the contribution of the American Negro to our Nation's culture." I note from the newspapers that the National Symphony Orchestra is using the new State Department Auditorium for its concerts. But, only last week, according to UPI (United Press International), the President took specific action to bar the facilities of any Federal agency or department to groups which practice racial discrimination. Now, according to the UPI report, President Kennedy, in a memo to the heads of all Federal departments and agencies, demanded that "current practices in each department are to be brought into immediate com- pliance with this policy and a report by the head of each executive agency filed to that effect before May 1, 1961." Will the Secretary of State, Dean Rusk, actually bar the National Symphony Orchestra from use of the fine new audi- torium in his Department which the President uses for his press conferences? Or does the President's order apply only to employee organizations. It will be interesting to see how this matter develops and is handled on the New Frontier. On another point, I think you will agree that our struggling contemporary composers need all the official backing they can get from the White House. A music trade paper, Musikhandel, published in Germany, recently made much of the fact that President Kennedy failed to list a single composition by an Ameri- can composer as being among his favorites. The German publication pointed out that former Vice President Richard Nixon mentioned at least one composi- tion out of three, the one being by an American, as being one of his favorites. This prompted my dear friend Arthur A. Hauser, president of the Theodore Presser Co., of Bryn Mawr, Pa., to write that "International good will might have been served by his (President Kennedy's) choice of music from various foreign countries, but on the other hand our struggling contemporary composers need all the official backing they can get, and if our President had mentioned at least one American composition, I am sure that this statement quoted in foreign countries might have helped our cause. Perhaps President Kennedy is not familiar with American music. If this is the case, I am sure that our various musical societies will be only too happy to help him learn more about what is being done in America to improve our cultural standing among nations." Nationwide support is growing for legislation to preserve the historic build- ings on Lafayette Square in the Nation's Capital. This legislation was intro- duced only last year as S. 3280 when he was a Senator by President Kennedy. Other good Democrats sponsoring the legislation at that time were: Senators Humphrey, Morse, Douglas, Murray, Hennings, Mansfield, and Gruening. This year President Kennedy's good friend, Senator John Sherman Cooper, Senator Wayne Morse, and I have introduced legislation which would carry out the purposes of S. 3280. The National Federation of Music Clubs has carried on a national campaign to save the Dolly Madison House, the Benjamin Tayloe House, and the Belasco Theater-also known as the Lafayette Square Opera House. The Daughters of the American Revolution adopted ,unanimously with ap- plause a resolution presented by Miss Gertrude S. Carraway, honorary president general, on April 20 deploring the fact that "one-fourth of the historically sig- nificant buildings in this country have been destroyed during the last 20 years" and calling for the preservation of the Lafayette Square buildings and endors- 70259-61-----14 PAGENO="0210" 202 AID TO FINE ARTS ing bills introduced by myself, Senators Cooper, and Morse, and by Senator Humphrey, Representative Macdonald, Representative McDowell, and others, which would preserve America's historic and architecturally important buildings. It is a brash generation, indeed, which will destroy all physical evidences of its great heritage. The powerful General Federatiou of Women's Clubs has also called for saving the Lafayette Square buildings. Two men, William Walton, a painter, and John Moore, Administrator of General Services Administration, like pharoahs or reigning monarchs of an ear~ her and unenlightened period have decided to proceed with the destruction of the Lafayette Square buildings. At this very moment, however, the President has called for spending some $10 million in saving the ancient treasures of the Nile. Recently the President rescued Harvard Yard at Harvard University from an office building. If the Nile treasures and Harvard Yard can be saved, why can't the Lafayette Square buildings be saved, Mrs. Bolling? Some months ago a bipartisan drive saved New York City's Carnegie Hall, a building no more culturally important than the Belasco Theater is to a Nation's Capital starved for cultural facilities. The Carnegie Hall drive was headed by Mayor Robert Wagner, Gov. Nelson Rockefeller, Mrs. Franklin D. Roosevelt, and Isaac Stern, the great concert artist. If some European government, say the German Government, offered $500,000 to the city of Washington to refurbish the Belasco Theater as an opera house perhaps this significant building could be saved for cultural purposes. There seems little or no concern with its preservation at present at the top reaches of the New Frontier. Here again, it is up to the President. Senator J. W. Fuibright and Congressman Harris B. McDowell, Jr., have introduced legislation to consolidate and strengthen existing acts of the Con- gress providing for educational and cultural exchange programs. Its stated purpose (5. 1154 and H.R. 5204) is to "provide for the improvement and strengthening of the international relations of the United States by promoting bet- ter mutual understanding among the peoples of the world through educational and cultural exchanges." The exchange program legislation consolidated in this bill is found in six public laws: the original Fuibright Act (Public Law 584); the Smith-Mundt Act (U.S. Information and Educational Exchange Act of 1948, Public Law 402); the Humphrey-ThomPson Act (the International Cultural Exchange and Trade Fair Participation Act of 1956, Public Law 860); the Finnish Debt Pay- inents Act of 1949 (Public Law 265); the Agricultural Trade Development and Assistance Act of 1954 (Public Law 480); and the India Emergency Food Aid Act of 1951 (Public Law 48). This bill contains authority to carry out and, where appropriate, to enlarge every program in the cultural and educational exchange field which has been authorized by these acts. Less extensive legislation having similar purposes passed the Senate in the 85th and 86th Congresses under the able sponsorship of Senators Hubert Humphrey and J. W. Fulbright. No action was taken in the House, where the bottleneck was another Democrat, Wayne L. Hays, chairman of the Subcommit- tee on State Department Organization and Foreign Operations. The new Fulbright-McDOWeII bifi was the result of a conference of high- level educators and Government officials last October in which the new Secretary of State, Dean Rusk, participated. Perhaps Congressman Hays will take some action this year, but a word from President Kennedy would certainly help move this vital legislation. Congressman Frank Thompson, Jr., and Congressman Torbert H. Macdonald have sponsored legislation to amend the Public Buildings Act of 1959 to provide for high standards of architectural design and decoration for Federal public buildings. When it is remembered that Thomas Jefferson and the other Founding Fathers went to great lengths to decorate the U.S. Capitol Building itself and this example has been supported by every Congress since then it can be seen that jhis legislation is in the best American tradition. If Thomas Jefferson can take such a position why can't President Kennedy? Certainly most Federal buildings these days resemble concrete boxes, and are desperately in need of decoration. Europeans set aside a percentage of the building costs for building decoration. Recent American buildings built to house American delegations over- seas have been highly praised for their attractiveness. Apparently, again, we PAGENO="0211" AID TO FINE ARTS 203 believe in putting our best foot forward abroad; while at home we don't save our historic buildings, or build handsome Federal buildings, or support art except to impress the people of other nations and as a part of our foreign policy. Bills were recently introduced by Senators Humphrey, Williams of New Jersey, and Long of Missouri, and cosponsored by Congressmen McDowell and Rhodes of Pennsylvania, to establish a National Portrait Gallery and protect the National Collection of Fine Arts which otherwise would be pushed out of the historic Patent Office Building under legislation sponsored by still another Democrat, Senator Clinton P. Anderson of New Mexico. The Congress established the National Collection of Fine Arts in 1840. Don't you think that after 120 years the National Collection of Fine Arts should have a building for permanent use? Here, again, President Kennedy could properly intervene to protect the inter- est of all Americans in our own fine arts, and call for the enactment of the Humphrey-McDowell bills (S. 744 and H.R. 5352). Then, take the Florence Agreement to reduce tariffs on educational, scientific and cultural materials, Mrs. Boiling, which was initialed by the United States in 1950. This agreement was ratified during the 86th Congress, but it is an empty gesture until legislation is enacted to alter* current tariff regulations. Representative Dominick V. Daniels of New Jersey has introduced a bill, H.R. 2537, to amend the Tariff Act of 1930 so as to exempt from any import tax books, publications, documents, music (whether manuscript or reproduced), archi- tectural designs, works of art, films of certain categories, scientific instruments, articles for the blind, materials for exhibition. The only proviso is that these items must come within the scope of the "Florence Agreement." Here, again, a word from the President would be decisive. There are those who hold that cities are among the supreme cultural expres- sions of man. One of these is Lewis Mumford. Without arguing this case I am interested in the health and welfare of cities and of the inhabitants of cities. I have introduced legislation to enlist the help of individual homeowners in every city of the country in a concerted attack on decay and obsolescence and blight which is destroying our cities at the heart. I would assist individual home- owners to do, in other cities, what individual homeowners have done in such areas in the Nation's Capital as Georgetown, Foggy Bottom, Kalorama Triangle, Mount Pleasant Village, and Capital Hill in rescuing whole sections from ad- vanced stages of decay and obsolescence. My bills, H.R. 4251, HR. 4254, and H.R. 6134, and their companion measures in the Senate: S. 1635 (Carison) and S. 1681 (Thurmond), do not shovel out billions of dollars for grandiose urban renewal schemes which destroy good homes for parking lots, yacht basins, and luxury apartments starting at $270 a month because, in my opinion, these things do not have any place in a Federal program designed to rehouse slum-dwellers. You will recall that Congressman Louis C. Rabaut introduced legislation in the 86th Congress which drew on lessons learned in the southwest urban re- newal project where 500 acres of housing, much of which was in no worse shape than houses in Georgetown were when Democrats decided that section of the Nation's Capital would be a good place to live. You will recall that the George- town migration took place in the early days of the regime of Franklin Delano Roosevelt. The Rabaut bill passed the House 10 to 1, but came to naught in the Senate. Now the urban renewal leaders in Washington are intent on destroying fine homes in the 18th Street-Columbia Road-Lanier Place area to make two great parking lots. I am not appealing to my colleagues to support the Kearns-Carlson-Thurinond legislation because I know how hard it is for Democrats to support Republican- originated bills at any time, especially early in a new and popular regime such as the present one. I have just had a lesson in this on a bill of mine to provide increased incentives for private giving to private and public education. His Eminence, Francis Cardinal Spellman has said a good word for my bill but I can't get the President to budge-even though my bill is substantially in line with one which Senator James E. Murray, now deceased, God rest his soul, introduced in the 86th Congress. Senator Murray was a Democrat, and a Cath- olic, but that doesn't help my poor bill. Anyway, to take off the hex from my bills on urban renewal, let me quote a moving statement by John Crosby who, incidentally, would have been an excel- lent choice for your "Salute to the Arts" luncheon. In the Erie, Pa., Times of April 18, 1961, Mr. Crosby writes on one of his favorite subjects, housing, as follows: PAGENO="0212" 204 AID TO FINE ARTS "There is getting to be an awfully fishy sme'l to title I and to everything con- nected with that phrase `urban renewal.' `Urban renewal,' (hideous phrase) sounded splendid when originally proposed. In the 350-odd title I projects now underway from New York to California, invariably the mayor issues the original clarion call. The real estate board and all sorts of respectable people from the American establishment get behind what seems like a very good thing. (And for real estate people, it is a very good thing.)" "Twelve thousand homes without flush toilets," says the press release. "Six thousand without hot water." My god, you say,' ~an such a thing happen in America? No flush toilets! No hot water! One of the glories of America is that everyone has a toilet to flush. The press release goes on with the other words: blight, slums, blighted area. The word blight you must be specially curious about. Usually, if you investigate a blighted area you will discover it is the loveliest area in town. "In New York, for example, two title I projects under consideration are in Greenwich Village and Brooklyn Heights. Now, God knows, New York is loaded with areas that need fixing up. In fact, New York is rapidly getting to be almost uninhabitable (except for automobiles) but among the few places in town that are worth living in are Greenwich Village and Brooklyn Heights. "The Greenwich Village area contains some of the last 18th century houses in Manhattan (there are at least three), scores of 19th century.houses. Brooklyn Heights is one of the loveliest parts of New York City, and contains over 1,000 hundred-year-old buildings. In both these areas-to say nothing of Houston, St. Louis, Los Angeles, and hundreds of other American cities-real estate opera-. tors come in loaded with Federal money and vast powers and vast responsibilities. They can throw you out of your home, pay you a condemnation price for a house whose mortgage you've been paying off for 20 years, and construct a perfectly hideous anthill in its place which is called luxurious housing. All this at the tax- payers' expense. "What is particularly sickening about all this-and it is just as bad in other cities as it is here-is. the amount of official deception that invariably accom- panies this ravishment of our beauty spots. George Orwell would chuckle with glee at the uses to which languages are being put. in these affairs. For beauty, say blight homes are called slums. Slums are called modern housing. (Modern housing has toilets all right, which can be heard for miles, and a general sleazi- ness of construction which would be rejected by a French peasant in the 16th century.) Has anyone really counted the number of toilets people haven't got- except the real estate speculators who put out the press releases? "Why does title I have to descend, not on the worst neighborhoods in town, but the best? Americans can never again afford to build homes like those they propose to tear down in Brooklyn-so why not hang on to the ones we have? And why use public funds to build high rental apartments? To me, there is a shocking waste of the national energy in tearing down beautiful buildings that might better be remodeled or rebuilt-at much less expense. (Of course, this reduces the plunder to the builders and the real estate speculators.) Besides there are plenty of places to build buildings that are not currently occupied by homes., Why tear down homes, displace people, when it's unnecessary?" So far, in my comments on the culture of cities I have mentioned the Kearns- Carison-Thurmond bills, and quoted from an article by John Crosby of the New York Herald Tribune. I might be more persuasive if I quoted from a speech made by one of the un- doubted leaders on the Democratic side in the House. I summon to my aid Con- gressman Frank Thompson, Jr., who, at the 30th annual meeting of the National Housing Conference, on March 13, 1961, said: "Now we are moving in the direction of the automatically obsolescent house In Europe, to which so many Americans travel to find the beauty they cannot find at home, there is nothing unusual in finding families occupying houses 300 and 400 years old. On this side of the Atlantic, on the other hand, we are do- cilely learning the dictum that if a house is secondhand it must be inferior and if it's been built more than 25 years it must be. getting ready to fall down. "What lies behind this mania for consumption, consumption, consumption? Simple. The belief that high consumption will keep our manufacturers churn- ing out goods and hence, counteract tendencies toward unemployment. But once again I remind you-just 40 years from now we are going to need new dwelling units for 120 million new Americans. I tell you we can't afford.to let existing housing decay and then be torn down for as-yet-unthought-of urban re- PAGENO="0213" AID TO FINE ARTS 205 newal plans. In my more nightmarish moments I wonder where those millions of board feet of lumber; those countless tons of clay for bricks, those endless bags of cement needed just for the houses of that 120 million are going to comO from. "No, we are going to have to learn to preserve what we have and build upon it. "We must ponder long and hard before we kill existing neighborhoods. Care- lessly uprooting people from a neighborhood in which they have lived a lifetime in order to replace their houses with something better may indeed provide sounder buildings and spruce up the area. But too often `it scatters around the city confused and resentful people who vent their justified hostilities upon their new dwelling places and cause more slums. "One time when families moved to public housing developments, they went voluntarily, hoping they were finally getting the break that would permit them to build themselves a new and better - life. Now, too often, they go because the place they lived in previously is being torn down and public housing is all they can afford. Construction specifications of public housing units frequently are an insult to the tenants. No doors on the closets, no baseboards on the walls have become symbolic of project living. What wonder is it that projects go sour and decay from the inside out?" These are some of the thoughts that have Occurred to me and I pass them along to you in a spirit of helpfulness, in connection with your "Salute to the Arts" luncheon on Thursday, April 27 at the Mayflower Hotel. There are some other things I had hoped to discuss such as a Presidential proclamation of National Music Week during the first week of May each year; and having the President extend the benefits of civil service to all the special services people in the armed services, such as librarians, and leaders and spe- cialists (who are college trained) in music, drama, and other arts, as well as crafts who contribute to the welfare and morale of our soldier sons and daugh- ters as well as personnel of the Navy, Air Force, and Marine Corps. At the present time, only half of these trained specialists are protected by civil service. [From the Baltimore American, Sunday, May, 7, 19611 WASHINGTON WONDERLAND-MUSICAL CONGRESSMAN ATTACKS CORNER ON ARTS (By Ruth Montgomery, Hearst Headline Service) WASHINGTON, May 6.-All heck has broken loose in the fine arts division of the Kennedy administration. A Republican Congressman who was singing in opera before First Lady Jacqueline Kennedy was born has dared to challenge the New Frontier's corner on "the arts." Representative Carroll Kearns, of Pennsylvania, the only legislator who holds an honorary doctor of music degree, has stirred up such a hornet's nest that he has Democrats fighting with each other, and the National Symphony Orchestra shrieking like a wounded banshee, while he and Jackie write flattering les belles letters to each other. Meanwhile, Kearns' staffers are gleefully insinuating that the wife of Demo- cratic Representative Richard Boiling, of Missouri, swiped Kearns' idea for a Committee of the Arts to win herself a prize at the recent "Salute to the Arts" luncheon at the Woman's National Democratic Club. The cauldron began to bubble last February when Kearns wrote to Mrs. Kennedy, suggesting that she and ex-prexy Ike serve as cochairmen of a National Committee for the Arts. If fine arts are to be advanced as they should, he added, such a committee must be created to work for passage of legislation already introduced by Eisenhower and the new administration. Jackie replied virtually by return mail, with a gracious letter thanking him for his "stimulating" suggestions. She said that "both the President and I are interested" in his proposals, and that after studying his ideas further she will be in touch with him. Kearns, `bitten by the -bug of helpfulness, next wrote a lengthy letter to Mrs. Boiling. Noting that she was staging a "Salute to the Arts" luncheon for Democratic ladies, he broke the news that the Kennedy administration did not discover the arts. President Eisenhower, he pointed out, is the father of the National Cultural Center Act, and also of the International Cultural Exchange. PAGENO="0214" 206 AID TO riNs ARTS Then he applied the stiletto. President Eisenhower, he said, had further called for the establishment of a Federal Advisory Council on the Arts, but the Democratic-controlled Congress has been sitting on the bill since 1955. Kearns, who used to be a music director at schools and colleges, and has conducted the Air Force Band on world tours, saved his Sunday punch for Secretary of State Dean Rusk. He did it by subtle stages. First he quoted from a bill introduced recently by Democratic Congressman Adam Clayton Powell, which condemned "the undemocratic hiring and employ- ment policies of the National Symphony Orchestra," for employing no Negro musicians. He pointed out that the Kennedy administration has granted the symphony permission to use the new State Department auditorium where JFK holds his news conferences, and purred: "Only last week President Kennedy took specific action to bar the facilities of any Federal agency to any group which practices racial discrimination." * Then he blandly asked: "Will the Secretary of State actually bar the National Symphony Orchestra from use of the fine new auditorium in his Department?" Symphony Manager Raymond Kohn cried out that Adam Clayton Powell doesn't know what he's talking about-the only reason the symphony lacks a Negro musician is because one with sufficient background and symphony repertoire has yet to be auditioned. NEW YORK HERALD TRIBUNE, New York, May 9, 1961. Hon. CARROLL KEARNS, Member of Congress, House of Representatives, Washington, D.C. DEAR REPRESENTATIVE KEARNS: Many thanks for sending me the extracts from the Congressional Record. What you say is, of course, entirely true; you know the score and you know the facts. Yet I cannot altogether subscribe to the conclusions. While a Democrat (more correctly an independent who often votes Repub- lican) I never took those promises on their face value. So long as Congress counts among its Members a mere handful of your enlightened persuasion nothing can be done. The notion that culture is a private affair (President Eisenhower in the People to People pamphlet), that public money cannot be spent on the cultural welfare of the citizenry, is too deeply imbedded in our social and political makeup. Yet even the anti-intellectuals would like to reap the kudos-if it could be done without spending any money on it. That some advance was made during the last few years is solely due to the Russian competition. I think that President Kennedy is sympathetic to the cause, but he is a prac- tical politician, as is Mr. Nixon, which means that both of them duck, instinc- tively, when the "money for culture" issue comes up. And I don't blame them. Just look at the publicity emanating from Lincoln Center and the Washington Cnltural Center: palaces, air-conditioned restaurants, underground garages, 100 million here, 70 million there, etc. The humble and untutored millions, raised on television and perfectly satisfied with the fatuous fare they receive, cannot see why these "rich people" should be subsidized. Kindly read my next Sunday column about Lincoln Center where I spell out some of these things. The accent is on prestige and patriotism, neither of which is involved in the Nation's cultural life. If you can wean the Nation-and your colleagues-from this concept, if you can establish the fact that the Government is responsible not only for the economic well-being of the Nation but also for its cultural health, perhaps the elected officials from the President down will be a little less cautious and more positive. With best wishes. Sincerely yours, PAUL HENRY LANG. PAGENO="0215" AID TO FINE ARTS 207 [From the New York World~Telegram and Sun, Saturday, May G, 1061] BErrY Bn~r~~'s WASHINGTON-CAPITAL ON CULTURE KICK WASHINGTON, May 6.-The Capital's off on a cultural kick that at least diverts caustic comments from the Cuban catastrophe. For Carroll Kearns, Republican, of Pennsylvania, the only Member of Con- gress to hold a doctor of music degree, the Women's National Democratic Club Salute to the Arts luncheon was the last straw. In a seven-page, single-spaced letter to Mrs. Richard Boiling, wife of the Missouri Representative and one of the luncheon committee, he fired a broad- side at the Democrats for all this cultural talk. "Many people are beginning to think that the art interest of the Federal Gov- ernment * * * began with the invitation to Robert Frost, the great poet, and 150 other cultural leaders to attend the inaugural ceremonies of 194il." But it was under President Eisenhower, he recalled, that the National Cultural Center Act came into being and "the International Cultural Exchange and Trade Fair Act under which our great orchestras, artists, drama and dance groups are sent overseas to demonstrate U.S. accomplishments in the fine arts." Then he let go his second volley: President Eisenhower, he said, cafled for the establishment of a Federal Advisory Council on the Arts `and although the Democrats have been in control of the Congress since 155, nothing has' hap- pened. "Six years is an awfully long time to wait for the establishment of such a new Federal advisory agency. The contemplated budget is only $50,000. When our gross national product is over $500 billion, it can be seen that such a step would scarcely unbalance the national budget. So one may well ask, What is the reason for the present timidity on the Democratic side in holding up the early creation of such an Arts Council ?" A BARB AT KENNEDY ADMINISTRATION Hig third shot was aimed at the Kennedy administration. John F. Kennedy himself, when he was Senator, introduced legislation to save the Dolly Madison House and two other buildings on historic Lafayette Square adjacent to the White House. But, blasts Mr. Kearns: "Two men, William Walton, a painter, and John Moore, Administrator of Gen- eral Services, like pharaohs or reigning monarchs of an earlier and unenlightened period, have decided to proceed with the destruction of the Lafayette Square buildings. At this very moment, however, the President has called for spending some $10 million in saving the ancient treasures of the Nile. Recently the President rescued Harvard Yard at Harvard University from an office build- ing. "If `the Nile treasures and Harvard Yard can be saved, why can't the Lafayette Square buildings be saved?" Pharaoh Walton was ready with a reply. *Mr. Kearns must be aware that Congress itself passed a law to demolish those buildings and appropriated the money to build two courts of justice there. Besides, the Dolly Madison House was completely gutted by the Cosmos Club in 1895 so that it no longer `has any historical meaning. Under its stucco covering are some original brick walls, that's all." The other buildings have far less reason for preservation, he pointed out. "He's right about the first point," continued Mr. Walton. "Federal interest in art did not begin January 20, 1961. The difference now is that the President and his wife are using the prestige of his high office to create a cultural climate favorable to the arts. There hasn't been time for anything else." While all this was going on, Jacqueline Kennedy was attending a performance of the Washington Ballet Co. `~ * * And the Kennedy Cabinet was giving "An Evening With Robert Frost," the plushest poetry reading ever presented in this political Capital and drawing a VIP roster that was enchanted by his telling humor. M155 SKINNEB OPPOSES NATIONAL THEATER The salute-to-the-arts luncheon that began all the controversial cultural con- versation contained explosions from the artists themselves. Asked what each would do "If I were President for a day": Actress Cornelia Otis Skinner observed dryly, "I would not encourage a na- tional repertory theater. I don't believe it would work here. I have a vision PAGENO="0216" 208 AID TO FINE ARTS of a Senator whose daughter, has* made a hit as Canthda in the Vassar Club play insisting she be made part of the troupe." Architect Philip C. Johnson proposed "the destruction of U.S. Highway No. 1 from Washington to the border of Maine, including all the cities along the route" in order to rebuild. "We have to build to be remembered," he said. "Sparta conquered Athens but we remember Athens." An abstract expressionist artist, Larry Rivers, said be would have Govern- ment do nothing for art. "Government taking a role in art would be like a gorilla threading a needle. It is cute to watch, the heart is in the right place, but it is clumsy and above all impossible." The Pulitzer prize-winning author, Paul Horgan, and Violinist Mischa Elman took the opposite view. "Art flourishes best where the artist is cherished," said Mr. Elman. "Appropriate $50 million a year to worthy projects," said Mr. Horan, "and take artto the people" on a freedom-train basis. Ballet Choreographer George Blanchine was the most ethereal. "God creates beauty, man assembles it," he said. And women are appointed by destiny to inspire beauty. "I would ask Mrs. Kennedy to lead in the spiritual and artistic life. * * * Already without her saying anything, all the women are doing their hair like Mrs. Kennedy. If she said one word about beauty, all the women would follow." [From the New York Times} HUDsON MANSION LIvEs AGADc-BOSCOBEL, DEMOLIsHED AND SOLD FOR $35 6 YEARS AGO, HAS BEEN RESTORED TO 18TH-CENFURY GLORY (By Merrill Folsom) GARRIsON, N.Y.-A new major point of interest for motorists on drives up the `Hudson Valley will be dedicated by Governor Rockefeller today and opened to the public soon after June 1. It is Boscobel, abeautiful frame mansion that has lived many lives. Originally at Crugers, 15 miles south of here, it w-as torn down 6 years ago, and its rare woodwork, staircases, maniles and other elements were sold for $35 to a dealer who specialized in selling second-hand woodwork. Earlier, the mansion bad passed through other vicissitudes, but this was the climax. `The 1955 sale did not go unnoticed in this area. A leader in seeking to pre- serve this precious bit of Americana was Benjamin W. Frazier of Garrison, president of the Putnam County Historical Society. He enlisted the interest and help of others in Putnam and Westchester Counties, and a fund-raising campaign was started. CONTRIBUTORS The principal contributors at the start were Mr. and Mrs. DeWitt Wallace of Pleasantville, copublishers of the Readers Digest. Mrs. Wallace gave $750,000, and she and her husband, through the Readers Digest Foundation, set `up a trust fund of $500,000 to keep the restored structure open to the public in perpetuity. The Wallaces, on a trip to England. and France some months ago, bought antique tables, chairs, pictures, and other ,furnishings for Boscobel, since the Originals bad vanished long ago. The replacements are considered typical of the period and place. Other contributions have been received and pledged for the restoration. The total sum required apart from the trust fund, was set at $1,250,000. The urgency of the matter early became evident when Mr. Frazier learned that some beautiful parts of the old house had been sold to be incorporated into a handsome new home being built on Long Island. The proprietor was persuaded to give up the original parts if they could be faithfully replaced: Mr. Frazier recently said that this cost "many thousands of dollars." COMMITTEE FORMED A committee, Boscobel. Restoration, Inc., was set up. Carl Carmer, author, of Irvington-on-HudSOn, is president.. Other members are Mrs. Wallace, Mr. Frazier, Mrs. Charles Stearns, Harry G. `Wilcox and Mr. and Mrs. Frederick P. Thompson, all of Westchester or Putnam Counties. PAGENO="0217" AID TO FINE ARTS 209 The dealer in second-hand woodwork cooperated in taking Boscohel apart with the greatest care, numbering each element. These parts were stored in barns around Garrison. A 36-acre tract on a plateau high above the Hudson River midway between Garrison and Cold Spring was acquired, and Boscobel now has been assembled there. The tract adjoins State Route OD. The site is across the Hudson from the United States Military Academy at West Point. Directors of the restoration expect to welcome many visitors from among the motorists on circle tours to West Point, Bear Mountain State Park, the Washington Headquarters and other Revolutionary War shrines near New- burgh, and the Sleepy Hollow restorations that the late John D. Rockefeller, Jr. endowed in Westchester County. Boscobel, on. its original site overlooking the Hudson at Crugers, was an American landmark that was commenced in 1795 and completed in 1804. It became one of the great social centers of the Hudson Valley. It is a fine example of the style of the noted* 18th-century Scottish-born architect, Robert Adam. His elegant designs, based on classic and Italian models but displaying an airiness and lightness all their own, are to be seen in numerous public and private buildings in London and elsewhere in Britain and are con- sidered 18th-century masterpieces. IMPORTED DESIGN It was constructed by Staats Morris Dyckman, a member of one of the wealthiest families in New York at that time. Dyckman had seen the design in England and brought it to this country. The name Boscobel was taken from an estate in Shropshire, England, where, in 1651, King Charles II hid in a hollow oak after the defeat of his army by Oliver Cromwell at the Battle of Worcester. Originally the name Boscobel had come from the Italian "Boscobello," meaning beautiful wood. The mansion was sold by Dyckman descendants to the Westchester County Park Commission in 1923. The commission relinquished Cruger's Park,. in which Boscobel stood, and the mansion itself, to. the Veterans' Administration after World War II. The Government built the $25,000,000 Franklin Delano Roosevelt Hospital for neuropsychiatric veterans next to the .house. INDOOR SKATING RINK Several times the Veterans' Administration threatened to raze the mansion, partly because it was considered a possible hiding place for mentally disturbed patients of the hospital. Then, for several winters, the main hall, 42 feet long, was used as a skating rink by Boy Scout grOups. Despite the efforts of those interested in preserving the mansion, its demolition was suddenly ordered by the Veterans' Administration and the dealer made his $35 purchase. The bargain has been compared with Peter Minuit's purchase of Manhattan for $24. A carriage house on the new property of Boscobel will have exhibitions of the various aspects of Hudson Valley life in the era of the early Dyckmans. They will include farm implements and tools. The exhibits will be changed occasionally. - The dedication will be at 3 p.m. today in a large tent on the property. Soon after June 1, the mansion and other buildings will be open to the public from 9 a.m. to 5 p.m. every day except Tuesday.. The entrance fees will be $1 for adults, 60 cents for children 6 to 14 years old, and $2.50 for families of two adults and up to four children. [From the New Republic] [From the New York Times, Saturday, May 13, 1961] A HoME' FOR AMERICAN ART No one seriously juestions that European painting, in the aggregate from A.D. 1200 to the present, is immeasurably superior to anything yet produced on these shores. But this does not mean there is no such thing as American art. Un- fortunately the visitor to Washington-from Dubuque or Delhi-can easily draw that conclusion from what seems to be the total absence of concern on the part of the American Government for American art. PAGENO="0218" 210 AD) TO PINE ARTS The National Gallery of Art supplies an excellent view of European art, par- ticularly painting, from the earliest Renaissance up to the start of this century. Some of the greatest European masterpieces are in the Gallery. American art, however, is not represented with anything like the same completeness or the same quality in individual examples. Now there are two bills before the Senate (and two before the House) which would provide a home for the National Col- lection of Pine Arts and the proposed National Portrait Gallery. The proposed home-the Civil Service Building in the District of Columbia, also known as the Old Patent Office-is itself one of the architectural monuments of the Nation's Capital and was only barely saved in recent years from destruction in favor of a parking lot. In the Senate, legislation introduced by Senators Humphrey of Minnesota, Williams of New Jersey, and Long of Missouri, would establish a National Por- trait Gallery and house it in up to one-half of the space in the Old Patent Office Building-the remainder of the space to be reserved for the National Collection of Fine Arts (which was the intended occupant of the building when Congress ordered its preservation in 1958). Senator Clinton Anderson of New Mexico declined to join Humphrey on the grounds that no new legislation was needed. On February 24, however, Ander- son, joined by Senator Saltonstall, introduced legislation of his own establishing a portrait gallery in the old Patent Office Building. The language in all four bills is very similar but there are significant differences. The Humphrey bill grants the new portrait gallery up to half the space of the building and speci- fies that the building shall also house the National Collection of Fine Arts. The Anderson bill makes no mention of all of the national collection and gives the portrait gallery use of "the whole or any part of the building." That language opens up the direct possibility that if the Anderson bill is the one finally passed, the National Collection of Fine Arts will never occupy the building reserved for it by Congress in 1958, but will continue to be crowded in among the stuffed elephants and plaster Esquimaux of the Museum of Natural History-in space which is needed by the Museum of Natural History and which is pitifully inadequate to show anything like the scope of the national collection. The national collection itself, it must be confessed, is no great shakes as an assemblage of art, either American or European. There are better collections of American painting in New York. Chicago and dozens of other American cities and towns. But in Washington, the Nation's Capital, the national collection is at present our last best hope, such as it is. If the collection can stay alive, if it can find suitable quarters for preservation and exhibition, if it can come out from behind the elephants in the Natural History Museum, it just may, in the future, attract the kind of liberal and princely givers with whom the national gallery has been so singularly blessed. [From the Sunday Star, Washington, D.C., May 28, 19611 Any LEAGUE Fzans Loss OF PATENT Orricn "HOME" (By Grace Bassett, Star staff writer') Will American art take second place to American history in the first suitable home for native talent now planned in the Nation's Capital? Some Washington artists are afraid so, despite assurances to the contrary from Smithsonian Institution and Congress. The 170 members of the American Art League, Inc., have resolved to fight legislation which, they feel, may keep the National Collection of Fine Arts out of the monumental old Patent Office Building at Eighth and F Streets NW. The history of the bill, the building, and the collection has made artists wary. They can point to a 23-year record of futile efforts to establish a suitable gallery for American art in the Federal City. Failures seem no less frustrating to Smithsonian Secretary Leonard Car- michael, who assured the House Appropriations Committee this year that a requested $400,000 would finance remodeling plans for the building for an art gallery. Included would, be both the National Collection and the National Portrait Gallery, he testified. PAGENO="0219" AID TO FINE ARTS 211 CRAMMED IN MUSEUM The House granted the $400,000, which appears assured of Senate approval. Paintings, ceramics, prints, and sculptures of the collection now are crammed among the stuffed elephants and plaster Eskimos of the Smithsonian's Natural History Museum. The collection, with a board of its own, accommodates native artists by exhibiting their works in the foyer. History, not art, sets the mood of this museum. The National Portrait Gallery still has no board of its own. But it has been a favorite concept, if not an organ, of the Smithsonian for a century. The Clark collection of portraits of Americans of the 18th and 19th centuries by prominent American artists has been envisioned as the nucleus of a national portrait gallery. Most of the Clark paintings are stored in the basement of the National Gallery of Art, which displays work-mostly European-primarily of artistic rather than historical interest. Although many of the works in the portrait collection are considered of finer quality than those of the fine arts collection, history, not art, sets their mood. It is this conflict between artistic and historical art that disturbs the Art League. PORTRAITS WOULD GAIN And the Smithsonian's predisposition for history and science instead of art is the real danger league members see in a new bill introduced by powerful Sena- tors Anderson, Democrat of New Mexico, and Saltonstall, Republican of Mas- sachusetts. Both are regents of the Smithsonian. At the request of the Smithsonian, they sponsored legislation to create a board, controlled by Smithsonian Regents, for the National Portrait Gallery. This board could use "the whole or any part" of the Patent Building for the Portrait Gallery. Should the board decide to use "the whole" the National Portrait Gallery would squeeze the National Collection of Fine Arts right out of the Old Patent Building, League President Francis Peters reasoned. Yet, the building is eminently suited for a gallery to show off and to improve the quality of American art, the league is convinced. An architectural treas- ure itself, the building is to be transferred to the Smithsonian under a 1958 law when its present occupant-the Civil Service Commission-vacates. The CSC is due to move into a new building in 1963. American Architect Robert Mills, who designed the Washington Monument and the Treasury Building, fashioned the Old Patent Office Building in Greek revival style. The two-block site downtown, bounded by Seventh, Ninth, F and ~ Streets NW., was set aside in the L'Enfant plan of 1791 for an "American Pantheon." FEARS CALLED UNFOUNDED Senator Anderson said the league fears were unfounded. It would be im- practical to section off the Patent Building, one-half for the collection and an- other for the Portrait Gallery, he said. He cited language in the congressional reports on the 1958 transfer law say- ing that the Patent Building would be used for both collections. Hardened by past disappointments, the league has yet to be convinced. Members have thrown their support instead behind a bill sponsored by Senator Humphrey, Democrat of Minnesota, creating a Portrait Gallery Board headed by the Chairman of the Board of the National Collection. Further, the Hum- phrey bill would limit Portrait Gallery occupancy of the Patent Building to half of the space. Cosponsors of the Humphrey bill are Democratic Senators Williams of New Jersey and Long of Missouri and Representative McDowell of Delaware. LAW SEEN NEEDLESS Some league members feel no legislation is required at all. Congress in a 1938 resolution called for establishment of a suitable gallery for national collections of "fine arts, comprising paintings, sculptures, bronzes, glass, porcelain, tapestry, furniture, jewelry, and other types of art." Also, the gallery would house portraits of eminent Americans and exhibit works of artists deserving recognition, the resolution said. PAGENO="0220" 212 AID TO F1~E ARTS But the resolution fixed a site along the Mall now occupied by the new Smithsonian Air Museum for the gallery. The intent of the resolution protects the National Collection of Fine Arts in a new gallery-now proposed in the Patent Building-according to one view. But to the majority, of league members, the fact that the Smithsonian built an air museum on one art gallery site hints that the pattern could be repeated by history nosing out art again in the Patent Building. [From the New York Times, `Saturday, May 13, 19613 CAPITAL To. HAvn ITS SHAKESPEARE-FREE PARK PRODUOTI0NS.ARE PLANNED THIS SuMMsai (By Louis Calta) * Washington, like New York, will have its free Shakespeare in the park this summer. The founder and organizer of' the venture is Ellie Chamberlain, who once worked with Joseph Papp's Shakespeare Festival in Central Park. Yesterday Miss Chamberain explained that her `association with Mr. Papp's group bad been the motivating element for the capital project. The plan she has chosen for the first season is "Twelfth Night," which will open July 1 for a 2-week run. Tile classic will be played at the Sylvan Theater, a 1,500-seat outdoor theater set in a grove of trees and shrubbery about 2 blocks from the White House and about 100 paces from the base of the Washington Monument. The Department of Interior is providing the theater and maintenance and the District of Columbia Recreation Department will supply the equipment. Production costs are being met by private donations. These will be supple- mented by a recently launched dollar drive. Among those who already have responded to the drive, according to Miss Chamberlain, are Robert Frost, Laurence Olivier, Mr. Papp and Richard L. Coe, drama critic for the Washington Post. All of the actors, Miss Chamberlain explained, have volunteered to perform without pay in the expectation of improving on their art. Rehearsals are sched- uled to start May 29. [From the Evening Star, Washington, D.C., Friday, Mar. 17, 1961J SHAKESPEARE FETE PLANNED-ACTRESS DREAMED IT UP, MEANS To MAKE IT ANNUAL~ (By Amelia Young) If ERie Chamberlain gets her way, the Nation's Capital will have its own Shakespearean Festival every summer beginning in 1961. Ellie is a local actress-director turned entrepreneur who means to stage a festival this July no matter how she has to do it. She plans to put on "Twelfth Night" for a 2- or 3-week run, using the best of area talent and drawing on the National Capital Parks and the D.C. Recreation Department for assistance. Already she has received permission to use the Sylvan Theater on the Wash- ington Monument grounds, pending final arrangements, and the ~Parks De- partment has agreed to put up seats for an audience of 1,500. Ellie's dream is to raise $5.000 to cover the production costs (lighting, costumes, scenery) and she is applying for a license to solicit donations. The actors will not be paid and the public will not be charged. This is strictly a non- profit venture. Should she fail to collect the full amount, Ellie said, she'll have to rely heavily on imagination-but the show will go on. WORTHY PRECEDENT For example, if necessary the company `will perform on weekend afternoons without any stage lighting at all. "We would have,a valid precedent for this," she said. "Shakespeare's own company performed in full daylight." And the scenery could be reduced to just the suggestion of a set. "Scenery should be simple, anyway. I feel. It's there to enhance the mood and quality of a production, but it shouldn't be heavy. It shouldn't interfere. So the PAGENO="0221" AID TO FINE ARTS 213 scenery, as such, is not going to be too important. We could almost dispense with it." "In other words," Ellie added, "we can make a virtue of necessity." So far Blue's project exists on handsome letterhead stationery that proclaims the "Shakespeare Festival of Washington" with her address printed beneath it. To the left, in small letters, the type reads "Ellie Chamberlain, Managing Director." She has formed a small fundraising committee that will seek contributions chiefly by direct contact, and has assembled the major portion of a company that will number 30 or 40 people, including the technicians. The Recreation Department, she said, has promised to "sponsor" the event, which means it will help to promote it andprovide some technical and adminis- trative assistance. The idea for the festival has been nagging at Ellie fOr at least a year. A native New Yorker who moved, here 2 years ago with her husband, Panos Gildas, she has been all over the lot in local little theater, both acting and di- recting. (She is director of "The Current View From the Bridge" production at the Capitol Hill Theater.) CREATING AN OUTLET It `appears to Ellie there's plenty of real acting talent' around but no high- caliber outlet for it, "What I'm after," she explained, "is good quality theater absolutely comparable to professional stuff." As it is now, Washington has "amateur theater that `only your friend's and relatives come to, and professional theater that is closed to most local talent." The festival company will be what she describes as "nonequity but profes- sional-~professional, tha't is, in its arti'stic standards. I'm getting actors who take their acting seriously, who think of it as a job rather than a hobby." Almost all those chosen so far have at some `time been involved in professional theater. Blue, a scholarship graduate of the Neighborhood Playhouse in New York (which produced Eli Wallach, Jo Van Fleet, and Gregory Peck among others), attended the Shakespeare Institute in Stratford, England, the summer of 1955. Three summers later, after appearing in a number of off-Broadway shows~ she joined the company of the Central Park Shakespeare Festival. That remarkably successful company, which grew out of an actor's reading group, is the model for Ellie's project. `She hopes to do what they. have done-produce enough excitement to attract the best directors and set designers in future seasons. "There are noted direc- tors who want to work on Shakespeare and haven't much opportunity. If we make the shows good enough, they'll want to come down." ~"The first season is always hard," she added. "Everybody has to really pitch in. But if we make a success of it, then it will be something that exists. It won't be just in the `realm of dream of vision `or idea." tFrom the Congressional Record, Mar. 24, 1960] AMENDMENT OF PUBLIC BUILDINGS ACT OF 1959, RELATING TO LOCATION OF CERTAIN COURTS IN THE DISTRICT OF COLUMBIA Mr. KENNEDY. Mr. President, I introduce, for appropriate reference, a bill to amend the Public Buildings Act of 1959 to authorize a study for the purpose of determining the feasibility of locating the Court of Claims, the Court of Cus- tom~s and Patent Appeals, and the Tax Court of the United States near the Supreme Court. These three courts have all outgrown their present locations. There i's pend- ing before the Public Works Committee a plan to locate the Court of Claims in Lafayette Square. This means that many of the historic buildings now fronting that square will be torndown. The Dolly Madison House, the Benjamin Taylor House, and the Belasco Theater have long served as an inspiration to generations of Americans who have visited their Capital City. Certainly, before any irrev- ocable action is taken to destroy these buildings to provide a site for a court- house, other sites should be investigated. PAGENO="0222" 214 AID TO PINE ARTS I ask unanimous consent to have printed in the Record an editorial which appeared in the Washington Post last Friday, entitled "Courthouse Politics." The PRE5mING OFFICER. The bill will be received and appropriately referred; and, without objection, the editorial will be printed in the Record. The bill (S. 3280) to amend the Public Buildings Act of 1959 so as to authorize a study for the purpose of determining the feasibility of locating the Court of Claims, the Court of Customs and Patent Appeals, and the Tax Court of the United States near the Supreme Court of the United States, and for other pur- poses, introduced by Mr. Kennedy, was received, read twice by its title, and referred to the Committee on Public Works. (The editorial presented by Mr. Kennedy is as follows:) [From the Washington Post, Mar. 18, 196&] COURTHOUSE POLITICS A choice corner fronting on Lafayette Square is swiftly becoming a site for sore eyes (of Texas) as a result of a quarrel involving three courts all in search of a new home. All the courts-the Courts of Claims, Court of Customs and Patent Appeals, and Tax Court-are in urgent need of more space. On this there is little dispute. The plight of the Court of Claims is especially desperate; because the court deals only with cases involving the Government, its docket has grown at an awesome rate (6,000 cases are now pending) while its quarters have failed to keep pace. But is Lafayette Square the appropriate site for a courthouse? Chief Judge Marvin Jones of the Court of Claims contends that his bench should be given sole occupancy of the site on Madison Place and H Street NW. now occupied by the old Belasco Theater and Dolley Madison House. Judge Jones, a former Texas Congressman, points out that the General Services Administration has assigned the site to his court and that the House Public Works Committee has endorsed the move. At this point, Chief Judge Eugene Worley, of the Court of Customs and Patent Appeals, enters a sharp dissent. His court, too, is in dire need of more space and lie proposes the addition of 30,000 square feet to the Lafayette Square edifice so that both courts could be housed together. Chief Judge Worley, also a former Texas Congressman, feels this could be done with a minimum of delay. And doubtless it would be desirable if another 90,00Y square feet could be found. for the Tax Court. To a bewildered bystander, one alternative seems clear. The needs of all the courts could be met adequately in a "judiciary square" on the east side of the Supreme Court Building. This is the proposal previously endorsed by both the National Capital Planning Commission and the Fine Arts Commission. Not only would it mean that an area could be created which would comport with judicial dignity (the buildings, perhaps, could be grouped around an Oliver Wendell Holmes Memorial Park) but also that Lafayette Square could then be preserved for an executive use more in keeping with its historical values and its proximity to the White House. Granted that such a change in plans would mean further delay, and granted that the location might be more inconvenient for the Court of Claims, we still think the idea of grouping the courts in a more suitable site deserves further con- sideration before the bulldozers begin their work. To meet the problems of delay, surely further space in other Government buildings-or leased private quarters- could be found on a short-term basis. [From the Congressional Record, Mar. 24, 1960] AMENDMENT OF PUBLIC BUILDINGS ACT OF 1959, RELATING TG LOCATION FOR NEW U.S. COURT OF CLAIMS BUILDING Mr. MoRsE. Mr. President, in an editorial on March 18, the Washington Post called attention again to the plans going forward to use the sites surrounding Lafayette Park, now occupied by several historic structures, for construction of a new office building to house the Court of Claims and the Court of Customs and Patent Appeals. PAGENO="0223" AID TO FINE ARTS 215 No one can deny that the workload of these courts makes it imperative that they be provided with expanded quarters. But I entirely share the objection of the Washington Post to using the sites around Lafayette Park for that purpose. A much better idea is the one offered by the Post that they be grouped around the U.S. Supreme Court Building as recommended by the National Capital Planning Commission and the Fine Arts Commission. I ask unanimous consent to have this editorial from the Washington Post printed at this point in my remarks. (There being no objection, the editorial was ordered to be printed in the Record, as follows:) [From the Washington Post, Mar. 18, 1960] COURTHOUSS PoLIcIEs A choice corner fronting on Lafayette Square is swiftly becoming a site for sore eyes (of Texas) as a result of a quarrel involving three courts all in search of a new home. All the courts-the Court of Claims, Court of Customs and Patent Appeals, and Tax Court-are in urgent need of more space. On this there is little dispute. The plight of the Court of Claims is especially desperate; because the court deals only with cases involving the Government, its docket has grown at an awesome rate (6,000 cases are now pending) while its quarters have failed to keep pace. But is Lafayette Square the appropriate site for a courthouse? Chief Judge Marvin Jones of the Court of Claims contends that his bench should be given. sole occupancy of the site on Madison Place and H Street NW. now occupied. by the old Belasco Theater and Dolly Madison house. Judge Jones, a former Texas Congressman, points out that the General Services Administration has. assigned the site to his court and that the House Public Works Committee has. endorsed the move. At this point, Chief Judge Eugene Worley of the Court of Customs and~ Patent Appeals, enters a sharp dissent. His court, too, is in dire need of more space and he proposes the addition of 30,000 square feet to the Lafayette Square edifice so that both courts could be housed together. Chief Judge Worley, also a former Texas Congressman, feels this could be done with a minimum of delay.. And doubtless it would be desirable if another 90,000 square feet could be found for the Tax Court. To a bewildered bystander, one alternative sedhis clear. The needs of all the courts could be met adequately in a "judiciary square" on the east side of the Supreme Court Building. This is the proposal previously endorsed by both the National Capital Planning Commission and the Fine Arts Commission.. Not only would it mean that an area could be created which would comport with judicial dignity (the buildings, perhaps, could be grouped around an Oliver Wendell Holmes Memorial Park) but also that Lafayette Square could then be preserved for an executive use more in keeping with its historical values and its proximity to the White House. Granted that such a change in plans would mean further delay, and granted that the location might be more inconvenient for the Court of Claims, we still think the idea of grouping the courts in a more suitable site deserves further consideration before the bulldozers begin their work. To meet the problems. of delay, surely further space in other Government buildings-or leased private quarters-could be found on a short-term basis. Mr. Mousu. Mr. President, in order to get a restudy of the question of locating the needed new courthouses, I introduce, for appropriate reference, a bill direct- ing the General Services Administration to bring together recommendations from itself, the National Capital Planning Commission and the Commission of Fine Arts to determine the feasibility of a "judiciary square" proposal. These rec- ommendations would be brought back to the House and Senate Committees on Public Works for further action. The old Belasco Theater is one of the buildings which would be razed if the new courthouse were constructed on the square. The February 21, 1060, issue of the Post carried an editorial on the Belasco Theater and its place in the his- tory of Washington. I ask unanimous consent to have this editorial, too, ap-~ pear at this point in my remarks. PAGENO="0224" 216 AID TO FINE ARTS (There being no objection, the editorial was ordered to be printed in the Record, as follows:) [From the Washington Post, Feb. 21, 1960} FINAl, CURTAIN A fine old theatrical relic and the graceful home where Dolly Madison once lived now appear doomed by the General Services Administration's latest plans to "improve" Lafayette Square. Only those with hearts of ice could be wholly unmoved by the impending change. The Belasco Theater, second only to the National in local eminence, once carried such lustrous names on its playbills as Sarah Bernhardt, Mrs. Fiske, and DeWoif Hopper. During its years as a TJSO center, it basked in a brief Indian summer before the Treasury Department turned its velvet-and-gold interior into a vault for Disbursement Office records. And now the shade of L. Stoddard Taylor, the Belasco's last manager, will surely sigh at the news that his 65-year-old stage will soon make way for a Court of Claims given to more prosaic drama. No less poignant is the fate~ of the Dolly Madison House a few doors up on H Street. The second oldest private dwelling on the square (Decatur House is older), and once the home of the Cosmos Club, the house is celebrated as the place w-here Dolly Madison spent~ the years of her widowhood. It is a house rich in associations on a square limned~ in history. A catalog of those who have lived around the park evokes the Republic's heroic days: Daniel Webster, William H. Seward, John Hay, Henry Adams, James G. Blame, Henry Clay, Charles Sumner, Roger B. Taney, Gideon Welles, Stephen Decatur, and John Randolph, of Roanoke. Long ago, the decision should have been made to preserve the residential character which predominated around the square until World War I. The opportunity has been thoughtlessly thrown away. The GSA is preparing to raze most of Jackson Place to make way for a monolithic office building; the AFL-CIO was permitted to build a headquarters mosque that towers grotesquely over St. John's Church; and now one of the city's choicest locations will be awarded to the Court of Claims. Even at this late date some hard questions ought to be raised about whether a courthouse would make the most appropriate use of such a desirable site. - With a little more foresight, the square could have remained as a pleasant patch of the past-with a refifrbished Belasco serving, perhaps, as a repertory theater. The chance has long since gone, and our grandchildren may well reproach us for failing as guardians of a heritage worth saving. * Mr. MORSE. Mr. President, no one can quarrel with the need for these new courthouses. But I cannot understand why they must be crowded into the downtown area of Washington, and into the lovely square across from the White House. Destruction of these buildings to make room for new office buildings will deprive Washington of much of the grace and charm which now envelops the White House. I hope this matter can be resolved in favor of their preservation. The Congress is already studying proposals for monuments to such notable figures of our past as James Madison, Woodrow Wilson, and Franklin D. Roose- velt. I am all for appropriate memorials to these great men. I am all for the very large sums which were spent to restore and preserve Independence Hall in Philadelphia, and other sites of significance in American history. But I do not understand why we cannot preserve what we already have by way of historic sites in the city of Washington, D.C. In addition to their historic import, they also contribute to the beauty of the White House, and I hope that by introducing this measure today, I can assist in their preservation. I ask unanimous consent to have my bill lie on the table for 3 days so that any Senator who may wish to do so can cosponsor it. The PREsIDING OFFICER. Without objection, it is so ordered. Mr. MoRsE. Mr. President I ask unanimous consent that the bill may be printed at this point in the Record in my remarks. The PREsIDING OFFICER. The bill will be received and appropriately referred; and, without objection, the bill will be printed in the Record. The bill (5. 3279) to amend the Public Buildings Act of 1959 to provide a study by the National Capital Planning Commission, the General Services Administra- tion, and the Commission of Fine Arts as to the best location for a new U.S. Court of Claims Building, and for other purposes, introduced by Mr. Morse, was received, read twice by its title, referred to the Committee on Public Works, and ordered to be printed in the Record, as follows: PAGENO="0225" AID TO FINE ARTS 217 Be it enacted by the Senate and House of Representatives of the United States of America in Congress asscm~blecl, That the Public Buildings Act of 1959 is amended by adding at the end thereof the following new sections: "SEC. 18. The Administrator is authorized to conduct a joint study, together with the National Capital Planning Commission and the Commission of Fine Arts, for the purpose of determining the feasibility of constructing, near the Supreme Court of the United States, adequate facilities to house the Court of Claims, the Court of Customs and Patent Appeals, and the Tax Court of the United States. As soon as practicable after the date of enactment of- this sec- tion, the Administrator shall submit a report on the results of such study, together with such recommendations as the three agencies may deem advisable, to the Committees on Public Works of the Senate and House of Representatives. "SEC. 19. In -keeping with the national .policy of protecting and preserving historic American.bulldings and sites for the inspiration and benefit of the people of the United States, the Administrator shall preserve and maintain the Dolly Madison House, the Benjamin Tayloe House, and the Belasco Theater on Lafayette Square in the District of Columbia, for historical, cultural, and civil purposes. The Administrator is authorized and directed to restore the Belasco Theater to a condition at least equal to its condition at the time it was acquired by the Federal Government. The National Park Service, and the District of Columbia Recreation Department, shall advise and assist the Administrator in the restoration and management of the Belasco Theater as a municipal art center. The Administrator is authorized to accept contributions of money, which shall be deductible for tax purposes, for the purpose of assisting him in the restoration of the Belasco Theater for cultural and civic purposes." - - [From the Congressional Record, Apr. 21, 1960] AMENDMENT OF PUBLIC BUILDINGS ACT OF 1959, RELATING TO LOCATION OF CERTAIN COURT BUILDINGS IN THE DISTRICT OF COLUMBIA - Mr. HUMPHREY. Mr. President, I introduce, for appropriate reference, a bill to provide for a study of the best location for certain Federal court buildings in order to preserve Lafayette Square for cultural and educational purposes. The bill calls for a study by the Administrator of General Services, the Na- tional Capital Planning Commission, and the Commission of Fine Arts of the feasibility of constructing a building for the U.S. Claims and Customs Courts in the area bounded by Pennsylvania Avenue on the north, 17th Street on the east, New York Avenue on the south, and 18th Street on the west. My bill would also provide for preservation and maintenance of the Dolly Madison House, the Benjamin Tayloe House, -and the Belasco Theater. - A proposal now being considered for construction of the necessary court build- ing on Madison Place -on the east side of -Lafayette `Square would mean destruc- tion of the gracious Dolly Ma-dison and -Benjamin Tayloe Houses as well as the theater. I believe that these cherished reminders of our history and the historic spirit of the entire s uare should be maintained. - - As we plan for the future of our Nation's Capital, we must remember that our city is a living lesson in our Nation's history -as well as the center of our Government operations. - - In locating Federal buildings in the District of Columbia, we must -think not only of Government services for our children, but of preserving for them the beauties of our American heritage. ` - - We have not always guarded this heritage -as we could and should. I hope that we shall not fail in this opportunity to maintain one corner of our past in the heart of the District. - The VICE PRESIDENT. The bill will be received and appropriately referred. The bill (S. 3403) to amend the -Public Buildings Act of 1959 to provide a study -as to the best location for a new building for certain courts of the United States, to preserve the Dolly Madison House, and other historic buildings near the White House for cultural and educational purposes in keeping with the national policy enunciated in the Historic Sites, Buildings, and Antiquities Act, and for other purposes, introduced by Mr. Humphrey, was reeeive~ read twice by its title, and referred to the Committee on Public Works. 70259-61----15 PAGENO="0226" 218 AID TO FINE ARTS [From the Congressional Record. July 1, 19601 REcoNsTRUcTIoN AT LAFAYETTE SQUARE Mr. MCCARTHY. Mr. President, this afternoon the Senate passed upon the conference report on the independent offices appropriation bill, which included an appropnation for $1 mfflion as a part of the project to destroy most of Lafayette Square and prepare the way for constructing three court buildings in that area. It strikes me it is rather curious that this administration, which is supposed to be conservative, and this Congress, which has some, at least conservative characteristics, is so ready to destroy buildings which have historic interest and which are significant, in the tradition of the United States. The Belasco Theater, the historic Dolley Madison House, Tayloe House, and a number of other buildings in the area would be destroyed by bulldozers and battering rams within the next few months. It is not necessary to consider only the historic interest of the buildings, but the beauty of the streets should justify our going somewhat slowly before we proceed to this destruction. In their place, it was said at one time, there will be built two courthouses, but we understand now that the proposal is to construct three of them, one for the Court of Claims, one for the Court of Customs, and the other for the Tax Court of the United States~ No one knows what the architectural designs will be. I think most of us feel that the architects who have been employed on Government buildings recently have not constructed buildings which are likely to live in the history of architecture. I regret that the Committee on Public Works, of which I am a member, ap- proved this construction; and I am hopeful that the other commissions, agencies, and persons who have some power of reviewing our actions may recommend effectively against this construction. Mr. MORSE. Mr. Presicleul, will the Senator yield? Mr. MCCARTHY. I yield to the Senator from Oregon. Mr. MoRsE. I thank the Senator from Minnesota for making these comments for the Record tonight in regard to the very unwise course of action which is being followed in respect to Lafayette Square. I testified before the Public Works Committee in opposition to this great mistake that we are about to make. There are reasons not only of esthetics, and not only of history which argue against it, because, after all, I think this section of Washington, D.C., is really a part of the cradle of American democ- racy, in this Capital City of the Nation, but I would like to argue a very prac- tical reason against it, namely, that of traffic congestion. I think it is inexcusable that we would concentrate this additional traffic congestion in the Lafayette Square area. May I say as a member of the District of Columbia Committee of the Senate, we have a serious problem of traffic congestion already in the city, and there are areas farther out, such as the area behind the Supreme Court Building, and other areas in southeast and southwest Washington, where these buildings could have been constructed. 1 am at a loss to understand why, merely for accommodation, as one columnist pointed out, for certain judges who apparently do not like to move very far from their bridge tables and clubs in the center of Washington, we should go to the great expense of building these courthouses in the middle of town. This is not good city planning, Mr. President. I think it is unfortunate that the Public Works Committee in this instance really has set itself up above the Committee on the District of Columbia, which has chief jurisdiction over the ques- tion of District of Columbia planning. At least. Mr. President. it is too bad we have rules which permit the Public Works Committee to go ahead without the matter being subjected to the veto of the Congress of the United States. Mr. President. I serve nOtice now that in the next session of Congress I shall offer some changes in rules which will bring the Public Works Committee under greater control of the Senate of the United States, so that this power it is able to exercise in this instance will be taken away from it in the future. Mr. MCCARTHY. Mr. President, I suggest it might be good if all of us on the Public Works Committee were to read Mr. C. Northcote Parkinson's book, en- titled "Parkinson's Law," in which he has some rather significant comments PAGENO="0227" AID TO FINE ARTS 219 with regard to public buildings and their implications with respect to the vitality of the institutions which use them for their purposes. In discussing an institution "clothed from the outset with convenience and dignity," he remarks: "The outer door, in bronze and glass," which is quite a specific description of the entrance of the New Senate Office Building, "is placed centrally in a symmetrical facade. Polished shoes glide silently over shining rub- ber to the glittering and silent elevator." This was the issue the Senator from Illinois was much concerned about-pol- ished rubber tile. This is all in "Parkinson's Law." Then he talks about the receptions, and so on, and says: "From behind closed doors will come the subdued noise of an ordered activity." We had a problem with respect to the louvers in the doors. It seems as though this ordered activity was too noisy for the people in the halls. "A minute later and you are ankle deep in the director's carpet." This was objected to by the Senator from Illinois. He says that this is supposed to indicate an organization or institution really alive and functioning, but that this is not correct. "In point of fact you will have discovered nothing of the kind. It is now known that a perfection of planned layout is achieved only by institutions on the point of collapse." I hope this does not apply to the U.S. Senate. To the extent that Mr. Parkin- son's law applies-and it seems to have been proved correct on the record of history-I think we need to be concerned. He says further: `~During a period of exciting discovery or progress there is no time to plan the perfect headquarters. The time for that comes later, when all the important work has been done. Perfection, we know, is finality; and finality is death." This may be an overstatement, but he does go to the record of history and makes a ~point with respect the Parliament buildings in London. He had this to say in that regard: It represents, beyond question, a magnificent piece of planning, aptly designed *for debate and yet provided with ample space for everything else-for commit- tee meetings, for quiet study, for refreshment, and [on its terrace] for tea." We have not gone that'far yet. - "It has everything a legislator could possibly desire, all incorporated in a building of immense dignity and comfort. It should date-~but this we now hardly dare assume-~from a period when parliamentary rule was at its height. But once again the dates fail to fit into this pattern. The original House, where Pitt and Fox were matched: in oratory, was accidentally destroyed by fire in 1834. It would appear to have been as famed for its inconvenience as for its lofty standard of debate. The present structure was begun in 1840, partly oc- cupied in 1852, but incomplete when its architect died in 1860. It finally as- sumed its present appearance in about 1868. Now, by what we can no longer regard as coincidence, the decline of Parliament can be traced without much dis- pute, to the Reform Act of 1867." That is 1 year before the completion of the building: "It was in the following year that all initiative in legislation passed from * Parliament to be vested in the Cabinet. The prestige attached to the letters "M.P." began sharply to decline and thence forward the most that could be said is that "a role, though a humble one, was left for private members." The great days were over.". * i~Ir. President, I suggest *that Members of the Senate and members of the Committee, on Public Works give, some thought to this matter. We have had a great rash of building on `Capitol Hill. It is my opinion that the construction of the New `Senate Office Building is a sign of a decline of the Senate. We have ,more room for public relations people and more room for service to our constit- uents. In fact, almost every office has become a kind of separate political head- quarters, not simply for those who are running for the Presidency but also for *those who are trying to do their jobs. The House of Representatives was to be the branch of the people. It was hoped the House would be representative of the people. It was though't there might be some party discipline and unity. The House of Representatives is now constructing another office building. I thought the least we could do, to establish some line of responsibility, was to have one office building reserved for Democrats and the other for Republicans. We have two office buildings for the Senate, yet that may not be enough. Per- haps we will need a third or a fourth to give a proper distinction PAGENO="0228" 220 Am TO FINE ARTS The House of Representatives has two office buildings now, and is constructing a third. The third will be the largest office building of any representative legis- lative body in the world. I have grave doubts as to whether this will make of the House of Representa- tives what the men who founded this country intended it to be. I refer to men like Madison, who said he expected the House of Representatives to predominate in the government of this country. I think that what Mr. Parkinson talks about in the case of the British Parlia- ment may be happening to us. We are getting ,more office space and more employees; yet our effectiveness as legislators and our influence in the country decline in almost that same measure. I say that I think we ought to look into the building program. This may be the way to get back to what we were intended to be at the beginning. Now we have the proposal for Lafayette Park, which raises another serious question of the particular function of the executive branch of the Government. Lafayette Park was sometimes referred to as the President's park. It may soon have very little connection with the White House, and it may look less and less like a park. Frederick Gutheim, noted architectural historian, wrote in the Washington Post and Times Herald of June 24, 1960, that the park is in danger of being "engulfed by office building," and "the White House `itself will be the casualty." There was a time when the White House stood for more than it does now. We ought to be concerned about the record. We ought to keep some space around the White House, on the assumption that we have a Chief Executive. We ought to keep minor courts out of the front yard of the White House. If this were the Supreme Court, perhaps there should be some relationship, but these are minor courts about which we are talking, rather unimportant courts. These courts could well be built at McLean, Va., with the CIA. They do not have to be in the front yard of the White House. As I said yesterday, there may come a time when the President may occupy the White House. That time may come soon. I think the least we can do is to wait until after the next election, and let the next President decide what he desires to see when he looks out of the door-I think it is the back door, but whichever door it is-to see the view. Mr. President, I yield back my remaining time. The PRESIDING OFFIcER. The Senator from Texas has the floor. Mr. JoHNsoN of Texas. Mr. President, does any other Senator desire to address the Senate? Mr. KEATING. Mr. President- Mr. JOuxsov of Texas. I yield to the Senator from New York. [From the Congressional Record, 3uly 1, 1960] FUTURE OF LAFAYETTE SQUARE (Extension of remarks of Hon. Eugene J. McCarthy, of Minnesota, in the Senate of the United States, Thursday, June 30, 1960) Mr. McCARTHY. Mr. President, I ask unanimous consent to have inserted in the Appendix of the Record a letter to the editor Of the Washington Evening Star of June 30, written by Mr. Frederick Haupt III, entitled "Future of La- fayette Square." I was one of those who joined withsevetal othOr members of the Public Works Committee in objecting to the approval that the committee gave to the planned courthouse construction in Lafayette Square. The least we can do is to wait until `after the next `election, because of the possibility that the next President might wish to spend more time at the White HOuse and he may be concerned about Lafayette Square whOn he looks out his front door. Mr. HUMPHREY. Mr. President, I would like to voice my approval. (There being no `Objection, the letter'was ordered to be .prin~~ted in the Record, as follows:) "FtrrunE or LaFAYETTE SQUARE "I wish to acknowledge a debt of gratitude owed to our paper by every- one who is interested in preserving Lafayette Square `and the buildings adja- cent to it. The editorial support which you have given bespeaks a breadth of PAGENO="0229" AID TO FINE ARTS 221 vision and a genuine concern with the historical-and esthetic-appearance of the Nation's Capital, both of which provide the logical answers to the parochial- ism which would convert this `forecourt of the White House' (as Frederick Gutheim has called it) into another Federal Triangle-or rectangle, in this case. In addition to your editorials, your news coverage of the hearings by the Senate Subcommittee on Buildings and Grounds, the pieces by Day Thorpe, and the piece by Gilbert Gimble (on June 26) have not only maintained public interest in this matter (which had already begun to take on the aspects of a strictly private affair between various agencies of the Federal Government) but have also provided the backing that is so necessary to the efforts undertaken to pre- serve the square in Congress and by private citizens in Washington. "The article by Mr. Gimble ably presents both sides of the case as it has developed to this point, and quite properly points out that congressional action `may shape the character of the historic square for coming generations.' "General Services Administrator Franklon Floete is especially to be thanked for his sensible alternative proposal to erect a triple court building in Southwest Washington. It is particularly encouraging to see the legislation introduced in Congress by Senators Douglas, Gruening, Hennings, Humphrey, Kennedy, Mans- field, Morse, and Murray, and by Representatives Thompson and McDowell. The General Federation of Women's Clubs and the National Federation of Music Clubs have shown a determined interest in preserving Lafayette Square; and their support is invaluable and of special significance because it does not represent purely local interests. And finally, our thanks should go to Carl Levin for his initiative and energy in forming the Citizens Committee To Save Lafayette Square. "FBEDERICK HAUPT III." [From the Congressional Record, Aug. 7, 1957] DESIGNATION AS NATIONAL HISTORIC SITES OF LAFAYETTE SQUARE AND CERTAIN BUILDINGS IN THE VICINITY THEREOF Mr. MURRAY. Mr. President, I introduce, for appropriate reference, a bill to designate as national historic sites Lafayette Square and certain buildings in the vicinity thereof, in the city of-Washington. Mr. President, it may interest the Members of the Senate to know that a com- panion measure, H.R. 0060, has been introduced in the House of Representatives by the distinguished young Representative from my State of Montana, Hon. Lee Metcalf, of the First District. September 6 of thi.s year will mark the 200th anniversary of the birth of Marquis de Lafayette, hero of the American Revolution, and of the revolution in his native land of France. It is ray earnest hope that our Nation will observe fittingly this historic anniversary; and in connection with it, I think It appro- priate that we should set aside the beautiful area in the city of Washington that bears his name as a national historic site, together with several of the buildings adjoining the Square that are so prominently connected with our national history. The pressing need for the enactment of a measure such as the one I have in- troduced today is emphasized by the revelations of the plans of the executive department to raze the remaining historic buildings bordering Lafayette Park, in order to make way for monster office buildings. I refer particularly to the Dolly Madison home, or at least what is left of it today, which was the home of the fourth President of the United States, James Madison. In the Congres- 8ional Record for last Friday, August 2, Robert E. Merriam, Executive Director, ~tlureau of the Budget, was quoted as stating that the Treasury Department had plans for expansion which would involve taking over this hallowed site, as well as a number of others on the square. Lafayette's birthday suggests to me, as I know it will to other Members of the Senate, that this is an opportune time for us to pause for a while in our onward rush for bigger and better Government buildings for the executive, and to rededicate ourselves to the cause for which Lafayette and kindred heroes who are honored in Lafayette Square dedicated themselves. Among those honored in Lafayette Square are President Andrew Jackson, Count Rochambeau, Com- modore Stephen Decatur, who fought against the Barbary pirates, and whose home still remains overlooking Lafayette Park, as it did when he lived in it, General Von Steuben, and General Kosciusko. PAGENO="0230" 222 AID TO FINE ARTS I ask unanimous consent to have printed in the Record, as a part of my re- marks, a report made by the Legislative Reference Service of `the Library of Congress on Lafayette and the award and the honor paid to him by the Congress :in 1824. The Vicu PRESIDENT. The bill will be received and appropriately referred; :and, without objection, the report will be printed in the Record. The bill (S. 2724) to designate as national historic sites Lafayette Square and certain buildings in the vicinity thereof, in the city of Washington, District of Columbia, and for other purposes, introduced by Mr. Murray, was received, read twice by its title, and referred to the Committee on Interior and Insular Affairs. (The report presented by Mr. Murray is as follows:) [From the Library of Congress Legislative Reference Service] GENERAL LAFAYETTE: AWARD FROM CONGRESS IN 1824 Lafayette arrived in New York in August 1824 and President Monroe in his Eighth Annual Message, December 7, 1824, spoke at length about his visit to this country. Among other things, he said: `His high claims on our Union are felt, and the sentiment universal that they should be met in a generous spirit. Under these impressions I invite your attention to the subject, with a view that, regarding his very important services, losses, and sacrifices, a provision may be made and tendered to him which shall correspond with the sentiments and be worthy of the character of the American people." Brand Whitlock, `in his life of Lafayette. states that "The propriety of such a gift has been discussed ever since his arrival," and adds, "Jefferson was in favor of the donation, and had urged it upon his friends in Congress" (vol. II, p. 246). Gales and Seaton's Register of Debates in Congress for December 20 to 23, 1824, relates the discussion on the bill to reward Lafayette. Senator Hayne, from the committee to which was referred the subject of making provision for General Lafayette, reported to the Senate a bill providing for a grant of $200,- 000 and an entire township of land. This passed the Senate the next day, De- cember 21. On December 22 a similar bill passed the House, but with minor differences on how the sum of $200,000 was to be paid to the general. On De- cember 23 the Senate accepted the House version of the bilL In a volume of Lafayette Letters edited by Edward Everett Dale (Oklahoma City, 1925), the following footnote appears on pages 54-55: "By a special act of Congress Lafayette was given a township of land to be selected by him from any part of the public domain. The lands chosen were in Florida. All were eventually sold, or otherwise disposed of, by Lafayette and his heirs. "(Statement of the land commissioner of Florida.)" [From Hans P. Caemmerer, A Manual on the Origin and Development of Washington, Washington, 19391 LArAYETTE PARK The L'Enfant plan shows the ground now known as Lafayette Park. or Lafa- yette Square, comprising about 7 acres, to have been a part of the President's park, extending on the north side from H Street southward to the Monument Grounds, between 15th and 17th Streets. Similarly, the subsequent Ellicott plan and the Derrnott plan make provision for such a spacious park to surround the President's house. These plans show no street dividing Lafayette Park from the White House Grounds. `When L'Enfant prepared his plan this was a neglected area, a common with- out trees. A racecourse was laid out, in 1797, on the west side of the grounds, extending westward to 20th Street.. Huts for workmen who helped build the President's house `were erected on the grounds, and when these were removed a market was established there. `This was later relocated farther to the center `of `the town, on Pennsylvania `Avenue, between Seventh and Ninth :Streets. Thomas. Jefferson first imdertdok really' to improve the ,grounds `and marked the: east' and .west limits as they are today, called Madison Place, and: Jackson Place, respectively. ` . ` PAGENO="0231" AID TO FINE ARTS 223 Until 1816 the only important building that had been erected adjacent to Lafayette Park was St. John's Church. Then, in 1818, the Dolly Madison House was built, and in 1819 the Decatur House. From then on and for more than 50 years following Lafayette Park became the center of social life in Wash- ington. Nearly every house surrounding it became noted for its historical as- sociations. However, the park seems to have been neglected the greater part of this period. In 1840 there was an ordinary fence around it. Just when this park area took the name of Lafayette Park is not definitely known. As has been said, originally this area was a part of the President's park, and D. B. Warden, in his volume entitled "Description of the District of Columbia," published in 1816, refers to it as such by saying, in connection with rates of fare for hackney carriages: "From the President's Square to Greenleaf's Point, and also to Hamburg wharf, or to the western limits of the city, the rate is but 25 cents, and half the distance one-half that sum." In his voluminous history of Lafayette Square, Gist Blair states: "Its name has come from the people and arose after this visit of Lafayette to the city in 1824." Again, speaking of the many social events held in Washington during this visit of Lafayette, Mr. Blair says: "Socially, the season of 1824~-25 was the most brilliant Washington had seen, so it is natural to understand how everyone at this time may have started to call this square Lafayette Square." In the office of the National Park Service, Department of the Interior, there is a map dated 1852, on which Lafayette Park is shown to be separated from the White House Grounds. The first printed .report of the Commissioner of Pub- lic Buildings, on file in that office, is of the year 1857. In that report there is a reference to Lafayette Square with an account of certain work being done there in that year. During more than a quarter of a century past the grounds have been prop- erty maintained as a park. Today there are five notable monuments in Lafayette Park; namely, the Jackson, Lafayette, Rochambeau, Von Steuben, and the Kosciusko. [From the Congressional Record, Apr. 12, 1960] IT WOULD Bu AN ACT OF FOLLY To DESTROY THE DOLLY MADISON HOUSE AND THE OTHER HISTORIC BUILDINGS NEAR THE WHITE HOUSE (Extension of remarks of Hon. Harris B. McDowell, Jr., of Delaware, in the House of Representatives, Tuesday, April 12, 1960) Mr. MCDOWELL. Mr. Speaker, it would be an act of folly to destroy the Dolly Madison House and the other historic buildings on Lafayette Square near the White House in the Nation's Capital. Many organizations are interested in preserving these historical buildings, among them the General Federation of Women's Clubs, the National Trust for Historic Preservation, the American Institution of Architects, the National Fed- eration of Music Clubs, the AFL-CIO, the Washington (D.C.) Post and Times Herald, the Commission of Fine Arts, and the National Capital Planning Commission. Governor Rockefeller and Mayor Wagner have sponsored legislation to save historic Carnegie Hall in New York City. Here in Washington, my able col- league from New Jersey, Congressman Frank Thompson, Jr., and I have spon- sored legislation to save the Dolly Madison House and other historic buildings on Lafayette Square from destruction. Bills for the same purpose have been spon- sored by Senators John F. Kennedy, Wayne Morse, Hubert H. Humphrey, Thomas C. Hennings, Jr., Paul H. Douglas, Ernest Gruening, and Mike Mans- field. PAGENO="0232" 224 A~ TO FI~ ARTS (I include the text of the bill which Congressman Frank Thompson, Jr., and I have cosponsored: TEXT OF THoMPsON-MCDowELL BiLLs: H.R. 11678 AND H.R. 11691 A bill to amend the Public Buildings Act of 1959 to provide a study as to the best location for a new building for certain courts of the United States, to pre- serve the Dolly Madison House and other historic buildings near the White House for cultural and educational purposes in keeping with the national pol- icy enunciated in the Historic Sites, Buildings, and Antiquities Act, and for other purposes Be it enacted by the Senate and House of Representatives of the United States in Uongres$ assembled, That the Public Buildings Act of 1959 is amended by add- ing at the end thereof the following new sections: "SEc. 18. The Administrator is authorized and directed to conduct a joint study, together with the National Capital Planning Commission and the Commis- sion of Fine Arts, for the purpose of determining the feasibility of constructing in the area bounded by Pennsylvania Avenue on the north, Seventeenth Street on the east, New York Avenue on the south, and Eighteenth Street on the west, in the Northwest sector of Washington, District of Columbia, or near the Supreme Court of the United States, adequate facilities to house the Court of Claims, and the Court of Customs and Patent Appeals of the United States. As soon as prac- ticable after the date of enactment of this section, the Administrator shall `submit a report on the results of such study, together with such recommenda- tions as the three agencies may deem advisable, to the Committees on Public Works of the Senate and House of Representatives. "SEc. 19. (a) In keeping with the national policy' of protecting and preserv- ing historic American buildings and sites for the inspiration and benefit of the people of the United States, the Administrator shall preserve and maintain the Dolly Madison House, the Benjamin Tayloe House, and the B'elasco Theater on Lafayette Square near the White House in the District of Columbia for his- torical, civic, cultural, and educational purposes and to further the purpoSes of the Act of June 5, 1860 (12 Stat. 35) chartering the National Gallery and School of Arts; the Act of March 3, 1863 (36 U.S.C. 251-253), chartering the National Academy of Sciences; the Act of March 3, 1891 (26 Stat. 1093), providing for a National Conservatory of Music; the Act of March 3, 1901 (31 Stat. 1438), char- tering the General Federation of Women's Clubs for educational, literary, artis- tic, and scientific culture; the Act of June 3, 1906 (34 Stat.' 804), chartering the National Education Association of the United States; the Act of February 4, 1913 (37 Stat. 660), chartering the National Institute of Arts and Letters; the Act of April 17, 1916 (39 Stat. 51), chartering the American Academy of Arts and Letters; the Act of July 5, 1935 (49 Stat. 457), chartering the American National Theater and Academy; the Act of October 26, 1949 (16 U.S.C., 418- 468e), establishing the National Trust for Historic Preservation; and the Act of August 1, 1956 (36 U.S.C. 661-630), chartering the National Music Council. The Administrator is authorized and directed to restore the Belasco Theater to a condition at least equal to its condition at the time it was acquired by the Federal Government, and to accept contributions of money which shall consti- tute `charitable contributions' for purposes of section 170 of the Internal Reve- nue Code of 1954 (relating to deductions for charitable etc., contributions and gifts), for the purpose of assisting him in the restoration of the Belasco Theater. "(b) The President is authorized to create such interagency committees and advisory committees as in his judgment may be of assistance in carrying out the purposes of this section. The provisions of section 214 of the Act of May 3, 1945 (59 Stat. 134; U.S.C., sec. 691), shall be applicable to any interagency com- mittee created pursuant to this section." PAGENO="0233" AID TO FINE ARTS. 225. [From the Congressional Record, Sept. 2, 1960] EFFORTS To OBTAIN THE SUPPORT OF PRESIDENT EISENHOWER AND VICE PRESIDENT NIXON FOR TIlE PRESERVATION OF THE HISTORICAL BUILDINGS NEAR THE `WHITE HOUSE WERE WITHOUT SUCCESS, CITIZENS COMMITTEE DECLARES; SENATOR KENNEDY'S BILL Woui~ SAvi BUILDINGS FOR CULTURE PURPOSES Fxtension of remarks of Hon Harris B McDowell Jr of Delaware m the House of Representatives Wednesday August 31 1960 Mr. MCDOWELL. Mr. Speaker, some 30 national and local organizations repre- senting millions of Americans rallied to save the historic buildings near the White House: the Dolly Madison House, the Benjamin Tayloe House, and the great Belasco Theater which had very deep conneëtions with America's cultural life. . Among~ the organizations fighting to save these great buildings was the Gen- eral Federal of Women's Clubs with. 5 million members; the National Federation of Music Clubs with 600,000 members; the National Music Council with 1,228,000 members; the American Federation of Musicians with 270,000 members; and the Central Labor Council, AFL-CIO, of Greater Washington. The support of the 15 million member AFL-CIO for the preservation of these historic buildings is assured because of the strong American Federation of Musicians and the Central' Labor Council, AFL-CIO. On July 13, 1960, the Citizens Committee To Save Lafayette Square in the Nation's Capital reported to one and all that efforts to obtain the support of President Eisenhower and Vice President Nixon for the preservation of these his- toric buildings were without success. The Committee declared: "Efforts to obtain the support of President Eisenhower for the preservation legislation were unavailing. "It would appear `that the only remaininghope is intervention by a new admin- istration next year. There is indication that the General'Services Administration will not be ready to start razing the buildings for perhaps 2 years, giving us time for an all-out effort next year with the new administration." ` Senator John F. Kennedy introduced a splendid bill, S. 3280, on March 24, 1960, to preserve and maintain the Dolly Madison House, the Benjamin Tayloe House, and: the Belasco Theater for historical, cultural, and civic purposes. In introducing this bill Senator' Kennedy said: "There is pending before the Public Works Committee a plan to locate the' Court of Claims in Lafayette Square. This means that many of the historic buildings now fronting that square will be torn dOwn. The Dolly Madison House, the Benjamin Tayloe House, and the Belasco Theater have long served as an inspiration' to generations of Americans who have visited their Capital City. Cer- tainly, before `any irrevocable action is taken to'destroy these buildings to provide a site for a courthouse, other sites should be investigated." New York City's famed Carnegie Hall was recently saved `through the efforts of a committee of distinguished citizens who were able to interest Mayor Robert Wagner and Gov. Nelson Rockefeller in preserving this' great cultural institution. In Chicago the famed Garrick Theater, built in 1892, the same decade the Belasco Theater and Carnegie Hall were built, was saved recently through the efforts of a citizens committee headed by Mayor Richard J. Daley, of Chicago. Involved in the efforts of Chicago citizens to save for cultural purposes one of the city's great theaters was a court decision. Judge Donald S. McKinlay decided that private owners of a prOperty such as the Garrick Theater can be forbidden to destroy such property on grounds of esthetics. In support of his decision, Judge McKinlay cited a 1954 Supreme Court decision which unani- mously upheld the power of the District of Columbia to include in a slum- clearance project the `destruction of a, department store that was in no way ,a slum building. The Supreme Court held that District of Columbia authorities had the right to decide that the District of Columbia should be beautiful as well as sanitary and could consider artistic values in deciding what should be destroyed and what should be saved. ` I include as part of my remarks the July 13, 1960, report of the Citizens Com- mittee To Save Lafayette Square in the Nation's Capital; the text of a broadcast by the distinguished concert manager, Patrick Hayes; and the text of S. 3280, introduced by Senator John F. Kennedy. PAGENO="0234" 226 AID TO FINE ARTS (The material follows:) 1960 REPORT OF THE CITIzENs C0MMITTRE To SAVE LAFAYETTE SQUARE IN THR * NATIoN's CAPITAL Belatedly, we wish to report on the status of the fight to save the old buildings on the east side of Lafayette Square. Some 30 national and loëal organizations rallied to the cause in cooperation with the citizens committee. The first effort to obtain hearings before the Senate Public Buildings and Grounds Subcommittee, before which legislation was pending, succeeded in that hearings were granted and held on May 23. Proponents-supporters of the pending bills to save the buildings and to restore the Belasco-made a completely overwhelming argument for the record. The only substantial opposition came from Marvin Jones, chief judge of the Court of Claims, and Eugene Worley, chief judge of the Court of Customs and Patent Appeals, who argued that the site was needed for a building for them for convenience and that to switch to another site would cause too great a delay in construction of a needed court building. At the hearings and in the behind-the-scenes maneuverings, they were greatly assisted by Judge Jack Martin, Court of Customs and Patent Appeals, who is a former administrative assistant of President Eisenhower (and the late Senator Taft) in charge of congressional liaison. The opponents of the preservation legislation were taken by surprise when General Services Administration Franklin Floete, responding to the new pressure which had been built up in opposition to razing the east side of the square, testified that there was another, and perhaps better, site for the courthouse. However, despite Mr. Floete's surprise move tO accommodate our desires and despite the very convincing showing at the hearings, the Senate Public Works Committee voted to authorize the courthouse construction on Lafayette Square. Only when their vote was announced after a secret meeting was it revealed that Mr. Floete had been secretly forced to produce still another prospectus, putting the courthourse back on Lafayette Square. It was clear that the lobbying effort of two or three of the opponents of the preservation legislation, namely the judges and their friends in Congress and in the administration, had succeeded in reversing Mr. Floete's recommenda- tion and in forcing approval of the site for Judge Jones. Efforts to obtain the support of President Eisenhower and Vice President Nixon for the preservation legislation were unavailing. It would appear that the only remaining hope is intervention by a new admin- istration next year. There is indication that the General Services Administra- tion will not be ready to start razing the buildings for perhaps 2 years, giving us time for an all-out effort next year with the new administration. Recommendation: It is urged that every effort be made following the inaugu- ration in January to get the ear and the understanding of the new President. If he wishes, he can refuse to spend the money authorized for the new court- house which the congressional committees have approved. Acknowledgement: The committee and its officers wish to acknowledge with deep gratitude the highly intelligent and dedicated effort which has been made by people too numerous to list in the effort to save Lafayette Square. Only an invincible combination of behind-the-scenes politics and official apathy have robbed you of success to date. Certainly the absence of success is no measure of the devotion and effort brought to this problem by the many supporters of this committee. The committee also wishes to thank and to acknowledge the help of Senators John Sherman Cooper, Edmund S. Muskie, Eugene J. McCarthy, and Ernest Gruening, and of Congressmen Frank Thompson and Harris B. McDowell, Jr., who made every possible effort in our behalf before and after the Public Works Committee's vote. Thanks go also to the Washington Post and Times Herald and the Evening Star for their fine editorials and their numerous news columns which supported us completely. CARL LEVIN, * Chairman. HOBART A. SPALDING, * Vice Chairman. MARm A. HURLEY, E~ecretary. PAGENO="0235" AID TO FINE ARTS 227 BROADCAST BY PATRICK HAYES, WGMS, AUGUST 28, 19f30, WOODWARD &LOTHROP Good afternoon. They did it out in Chicago. They did the unexpected and the wonderful. They saved an old empty building from being torn down for esthetic reasons alone, because it is an historic landmark, a theater, rich in memories, still attractive to the eye. The theater and building are known as the Garrick, built in 1892, 1 year after Carnegie Hall was built. It is a combination office building and theater, and in the heyday of show business it was one of Chicago's leading legitimate theaters. In recent years the theater was used only for motion pictures, and not too successfully, and the Offices upstairs were occupied by tenants. The march of progress in Chicago has produced a master plan for a huge downtown center which will involve tearing down a few blocks of old build- ings, some of them tremendous in size, to make way for the new and even bigger buildings. The Garrick is just across the street from one side of this proposed complex of buildings, and its real estate and parking potential are obvious-tear down the Garrick, build a new and bigger building, including substantial parking facilities. This' is the modern, downtown, march of progress. The owners of the Garrick applied some time ago for a wrecking permit from the city of Chicago. A citizens committee, headed by Mayor Richard J. Daley himself, intervened. The permit was refused by the city. The owners took the matter to court, seeking an action that would force the city of Chicago to grant the wrecking permit. This is where matters stood a few weeks ago when we commented on this Garrick situation, bearing in mind always the Belasco sit- uation here in Washington. Last Tuesday Judge Donald S. McKinlay gave his decision, after a personal inspection of the premises and long reflection on the law involved. He decided that an architectural landmark can be saved, that a wrecking permit can be denied, that owners of a property such as the Garrick can be forbidden to destroy it even though they own it-and esthetic reasons alone suffice as a basis for his decision. The Garrick had been declared an architectural landniark in 1958 by the appropriate city commission. There is a lot involved here, which might affect similar situations across the country. Judge McKinlay pointed out that what he was doing was essentially a new interpretation of a municipality's police power. He said that a clear legal right to a wrecking permit is not an absolute right when the public esthetic interest is involved. I think we should all pause here and say "Hallelujah." Judge McKinlay says that the public esthetic interest can come first in the march of progress. In support of his decision, Judge McKinlay cited a 1954 Supreme Court deci- sion which unanimously upheld the power of the District of Columbia to include in a slum clearance project the destruction of a department store that was in no way a slum building. He said that the Supreme Court held that District author- ities had the right to decide that the District should be beautiful as well as sanitary and could consider artistic values in deciding what should be taken and what left. Are you listening, members of the Citizens' Committee to Save Lafayette Square? A judge out in Chicago is giving you the answers, from a case right here in the District of Columbia, on which he based his decision to save the Garrick in Chicago. The Garrick case deals with the same values, artistic and esthetic values, but differs in that it upholds the power of a city to deny a private owner the right th destroy his own property. Judge McKinlay was frank to say he knew of no similar case. Lawyers for the owners promptly said that the decision would be appealed to the Illinois Supreme Court. That decision will be one to watch for. Meanwhile, it is more than encouraging to realize that there are a few Athenians among us in positions of influence. To return `to the Chicago story of the Garrick Theater, and bearing in mind that the Belasco Theater here on Lafayette Square is in jeopardy, it is ironic `to note that in Chicago a court saved the Garrick, while here a courthouse may lose us the Belasco. S. 3280, INTBODUCED BY SENATOR JOHN F. KENNEDY Be it enacted by the senate and House of Representatives of the United I~tate$ of America in Congress assembled, That the Public Buildings Act of 1959 is amended `by adding at `the end thereof the following new sections: "SEc. 18. The Administrator is authorized to conduct a joint study together with the National Capi'tal Planning Commission and the Commission of Fine Arts, for the purpose of determining the feasibility of constructing, near the PAGENO="0236" 228 AID TO FINE ARTS Supreme Court of the United States, adequate facilities to house the Court of Claims, the Court of Customs and Patent Appeals, and the Tax Court of the United States. As soon as practicable after the date of enactment of this see- lion, the Administrator shall submit a report on the results of such study, to- gether with such recommendations as he may deem advisable, to the Committees ~n Public Works of the Senate and House of Representatives. "Suc. 19. In keeping with the national policy of protecting and preserving historic American buildings and sites for the inspiration and benefit of the Deople of the United States, the Administrator shall preserve and maintain the Dolly Madison House, the Benjamin Tayloe House, and the Belasco Theater, on Lafayette Square in the District of Columbia, for historical, cultural, and civic purposes. The Administrator is authorized and directed to restore the Belasco Theater to a condition at least equal to its condition at the time it was acquired by the Federal Government. The National Park Service, and the District of Columbia Recreation Department, shall advise and assist the Administrator in the restoration and management of the Belasco Theater as a municipal art center." [S. 3128, 86th Cong., 2d sess.] A BILL To designate as national historic sites Lafayette Square and certain buildings in the vicinity thereof, in the city of Washington, District of Columbia, and for other purposes Be it enacted by the Senate anti House of Representatives of the United States of America in Congress assembled, That Lafayette Square, the buildings known as the Dolly Madison House, located at 1520 II Street Northwest, the Benjamin Taylor House, located at 21 Madison Place Northwest, and the Decatur House, located at the northwest corner of H Street and Jackson Place Northwest, Washington, District of Columbia, are hereby designated national historic sites. Hereafter, so much of the property as may be in Federal ownership shall be administered by the Secretary of the Interior, pursuant to the Act of August 25, 1016 (39 Stat. 535), as amended, and in accordance with the purposes of the Act of August 21, 1935 (49 Stat. 666). SEc. 2. The old Belasco Theater on Lafayette Square shall be transferred to the Department of the Interior, to be administered by the Secretary of the In- terior as a municipal art center for the Nation's Capitol. The Secretary of the Interior is authorized and directed to restore the old Belasco Theater to a condition at least equal to its condition at the time it was acquired by the Federal Government. The District of Columbia Recreation Department shall assist the Department of the Interior in the restoration and management of the old Belasco Theater as a municipal art center. [S. 3229, 86th Cong., 2d sess.] A BILL To amend the Public Buildings Act of 1959 to provide fOr the preservation and maintenance of the Dolly Madison House, the Benjamin Taylor House, and the old Belasco Theater for historical, cultural, and civic purposes Be it enacted by the Senate and House of Representatives of the United States of America in Congress assembled, That the Public Buildings Act of 1959 is amended by adding at the end thereof the following new section: "SEC. 18. In keeping with the national policy of protecting and preserving historic American buildings and sites for the inspiration and benefit of the people of the United States, the Administrator shall preserve and maintain the Dolly Madison House, the Benjamin Tayloe House, and the old Belasco Theater, on Lafayette Square in the District of Columbia, for historical, cultural, and civic purposes. The Administrator is authorized and directed to restore the old Belasco Theater to a condition at least equal to its condition at the time it was acquired by the Federal Government. The National Park Service, and the District of Columbia Recreation Department shall advise and assist the Administrator in the restoration and management of the old Belasco Theater as a municipal art center." PAGENO="0237" AID TO FINE ARTS 229 [S. 3279, 86th Cong., 2d sess.] A BILL To amend the Public Buildings Act of 1959 to provide a study by the National Capital Planning Commission, the General Services Administration, and the Commission of Fine Arts as to the best location for a new United States Court of Claims Building, and for other purposes Be it enacted by the Senate and House of Representatives of the United States of America in Congress assembled, That the Public Buildings Act of 1959 is amended by adding at the end thereof the following new sections: "SEc. 18. The Administrator is authorized to conduct a joint study, together with the National Capital Planning Commission and the Commission of Fine Arts, for the purpose of determining the feasibility of constructing, near the Supreme Court of the United States, adequate facilities to house the Court of Claims, the Court of Customs and Patent Appeals, and the Tax Court of the United States. As soon as practicable after the date of enactment of this section, the Administrator shall submit a report on the results of such study, together with such recommendations as the three agencies may deem advisable, to the Committees on Public Works of the Senate and House of Representatives. "SEc. 19. In keeping with the national policy of protecting and preserving his- toric American buildings and sites for the inspiration and benefit of the people of the United States, the Administrator shall preserve and maintain the Dolly Madison House, the Benjamin Taylor House, and the Belasco Theater on Lafayette Square in the District of Columbia, for historical, cultural, and civic purposes. The Administrator is authorized and directed to restore the BelascO Theater to a condition at least equal to its condition at the time it was ac- quired by the Federal Government. The National Park Service, and the District of Columbia Recreation Department, shall advise and assist the Administrator in the restoration and management of the Belasco Theater as a municipal art center. The Administrator is authorized to accept contributions of money, which shall be deductible for tax purposes, for the purpose of assisting him in the restoration of the Belasco Theater for cultural and civic purposes." [5. 3280, 86th Cong., 2d sess.] A BILL To amend the Public Buildings Act of 1959 so as to authorize a study for the pur- pose of determining the feasibility of locating the Court of Claims, the Court of Customs and Patent Appeals, and the Tax Court of the United States near the Supreme Court of the United States, and for other purposes Be it enacted by the Senate and House of Representatives of the U~'iited States of America in Congress assembled, That the Public Buildings Act of 1959 is amended by adding at the end thereof the following new sections: "SEC. 18. The Administrator is authorized to conduct a joint study together with the National Capital Planning Commission and the Commission of Fine Arts, for the purpose of determining the feasibility of constructing, near the Supreme Court of the United States, adequate facilities to house the Court of Claims, the Court of Customs and Patent Appeals, and the Tax Court of the United States. As soon as practicable after the date of enactment of this section, the Administrator shall submit a report on the results of such study, together with such recommendations as he may deem advisable, to the Com- mittees on Public Works of the Senate and House of Representatives. "SEC. 19. In keeping with the national policy of protecting and preserving historic American buildings and sites for the inspiration and benefit of the people of the United States, the Administrator shall preserve and maintain the Dolly Madison House, the Benjamin Taylor House, and the Belasco Theater, on Lafayette Square in the District of Columbia, for historical, cultural, and civic purposes. The Administrator is authorized and directed to restore the Belasco Theater to a condition at least equal to its condition at the time it was acquired by the Federal Government. The National Park Service, and the District of Columbia Recretation Department, shall advise and assist the Administrator in the restoration and management of the Belasco Theater as a municipal art center." PAGENO="0238" 230 AID: TO FINE ARTS [S. 3403, 86th Cong., 20 sess.] A BILL To amend the Public Buildings Act of 1959 to provide a study as to the best loca- tion for a new building for certain courts of the United States, to preserve the Dolly Madison House and other historic buildings near the White House for cultural and educational purposes in keeping with the national policy enunciated in the Historic Sites, Buildings, and Antiquities Act, and for other purposes Be' `it enacted by the Senate and House of Representatives of the United States of America in Congress assembled, That the Public Buildings Act of 1959 is amended by adding at the end thereof the following new sections: "SEc. 18. The Administrator is authorized and directed to conduct a joint study, together with the National Capital Planning Commission and the Coni- mission of Fine Arts, for the purpose of determining the feasibility of construct- ing in the area bounded by Pennsylvania Avenue on the north, Seventeenth Street on the east, New York Avenue on the south, and Eigh'teenth:Street on the west, in the northwest sector of Washington, District of Columbia, or neer the Supreme Court of the United States, adequate facilities to house the Court of ~Illaims; and the Court of Customs and Patent Appeals of the United States. As soon as practicable after the date of enactment of this section, the Administrator shall submit a report on the results of such study, together with such recom- mendations as the three agencies may deem advisable, to the Committees on Public Works of the Senate and House of Representatives. "SEc. 19. (a) In keeping with the national policy of protecting and preserving historic American buildings and sites for the inspiration and benefit of the people of the United States, the Administrator shall preserve and maintain the Dolly Madison House, the Benjamin Tayloe House, and the Belasco Theater on Lafayette Square near the White House in the District of Columbia for histori- cal, civic, cultural and educational purposes and to further the purposes of the Act of June 5, 1860 (12 Stat. 35),' chartering the National Gallery and School of Arts; the Act of March 3, 1863 (36 U.S.C. 251-253), chartering the National Academy of Sciences; the Act of March 3, 1891 (26 Stat. 1093), providing for a National Conservatory of Music; the Act of March 3, 1901 (31 Stat. 1438), chartering the General Federation of Women's Clubs for educational, literary, artistic, and scientific culture; the Act of June 3, 1906 (34 Stat. 804), chartering `the National Education Association of the United States; the Act of February 4, 1913 (37 Stat. 660), chartering the National Institute of Arts and Letters; the. `Act of April 17, 1916 (39 Stat. 51). chartering the American Academy of Arts and Letters; the Act of July 5, 1935 (49 Stat. 457), chartering the American National Theater and Academy; the Act of October 26, 1949 (16 U.S.C. 468-468e), establishing the National Trust for Historic Preservation; and the Act of August 1, 1956 (36 U.S.C. 661-680), chartering the National Music Council. The Ad- ministrator is authorized and directed to restore the Belasco Theater to a con- `dition at least equal to its condition at the time it was acquired by the Federal Government, and to accept contributions of money which shall constitute `chari- table contributions' for purposes of section 170 of the Internal Revenue Code of 1954 (relating to deductions for charitable, etc., contributions and gifts), for the purpose of assisting him in the restoration of the Belasco Theater. "(b) The President is authorized to create such interagency committees and advisory committees as in his judgment may be of assistance in carrying out the purposes of `this section. The provisions of section 214 of the Act of May 3, 1945 (39 Stat. 134: U.S.C. 691), shall be applicable to any interagency committee created pursuant to this section." [From the Congressional Record, Mar. 6, 19611 `THE AMERICAN INSTITUTE OF ARCHITECTS DEPLORES THE APPARENTLY IMPENDING DESTRUCTION OF CERTAIN BUILDINGS FRONTING ON LAFAYETTE SQUARE AND TilE CONSTRUCTION OF LARGE FEDERAL BUILDINGS IN THEIR PLACE (Extension of remarks of Hon. Carroll D. Kearns, of Pennsylvania, in the House of Representatives, Monday, Mar. 6, 1961)' Mr. KEARNS. Mr. Speaker, I have been assured by Joseph Watterson, editor of the Journal of the American Institute of Architects, that the American Insti- tute of Architects "deplores the apparently impending destruction of certain buildings fronting on Lafayette Square and the construction of certain large Federal buildings in their place." PAGENO="0239" AID TO FINE ARTS 231 Mr. Watterson goes on to say that "although by now many of the buildings on the square may be of a nondescript architectural character, the flavor and charm of the square have not been destroyed. It is still a fitting forecourt. to the White House-which it must always be. This fitness would be lost with marble monumentality flanking the square-east and west." Mr. Watterson makes, I think, a major contribution to the current considera- tion of the famed Lafayette Square when he adds that "since the Decatur House, on the northwest corner of the square, and the Blair and Lee Houses, on Penn- sylvania Avenue, are to be preserved, and the new Executive Office Building designed to surround them with low wings and courts, it would seem that the same approach could be taken on the east side of the square. The. Madison House, on the northeast corner, and the Tayloe House, in the middle of the block, are worthy of preservation and restoration, both historically and archi- tecturally. Rather than preserve them purely as monuments, suitable uses can be found for these buildings, as is done in so many of the old cities of Europe. It is a brash generation, indeed, which will destroy all physical evidences of its great heritage." (I include herewith as part of my remarks the letter I have received from Mr. Watterson, as well as an excerpt from a brilliant article by L. Morris Leisen- ring, FAJA, which was published in the February 1961 issue of the Journal of the American Institute of Architects:) THE AMERICAN INSTITUTE OF ARCHITECTS, OFFICE OF THE JOURNAL, TVashingtoe., D.C., February 28, 1961. Representative CARROLL D. KEARNS, New House Office Building, Washingtcm, D.C. DEAR CONGRESSMAN. KEARNS: I am sorry that you were unable to see me last week, for we have noted with great interest the bill (H.R. 3982) which you intro- duced in the House February 7. The American Institute of Architects is of course a strong supporter of any proposed legislation which would strengthen and improve the cultural oppor- tunities here in Washington-or anywhere in the. Nation, for that matter.. But at the moment it is the last part (section 3) of this bill. which prompts me to wri.te you. The AlA has always had an active interest in the planning and architecture of the city of Washington, ever since its part in the inception of the MeMillan plan of 1901, in the formation of the Commission of Fine Arts and the National Capital Planning Commission etc Consequently the institute deplores the apparently impending destruction of certain buildings fronting on Lafayette Square and the construction of large Federal buildings in their place. Although by now many of the buildings on the square may be of a nondescript architectural character, the flavor and charm of the square have not been de- stroyed. It is still a fitting forecourt to the White House-which it must always be. This fitness would be lost with marble inonumentality flanking the square- east and west. Since the Decatur House, on the northwest corner of the square, and the Blair and Lee Houses on Pennsylvania Avenue, are to be preserved, and the new Executive Office Building designed to surround them with low wings and courts, it would . seem that the same approach could be taken on the east side of the square. The Madison House, on the northeast corner, and the Tayloe House in the middle of the block, are worthy of preservation and restoration, both historically and architecturally. Rather than preserve them purely as monu- ments, suitable uses can be found for these buildings, as is done in so many of the old cities of Europe. It is a brash generation indeed which will destroy all physical evidences ofits great heritage. I enclose for your interest and information a copy of the February issue of the Journal of the American Institute of Architects, which contains an article on Lafayette Square. Its author makes no plea for preservation of buildings on the square, for the article was commenced months ago, when their destruc- tion seemed inevitable. It is rather a somewhat nostalgic lament for their passing. However, with the interest displayed in the square by the President, and by the introduction of. bills in the Congress, new hope has been aroused that perhaps the square is not doomed after all. This article has been widely cir- culated in Washington and has aroused considerable interest and comment in the newspapers as well as in Government circles. I hope you will find some- thing of value in it. PAGENO="0240" 232 AID TO FINE ARTS Meanwhile I wish to assure you that support for this or similar bills will be forthcoming from the AlA and its 13,850 members all over the country. Cordially yours, JOSEPH WATTERSON, Editor. [From the Journal of the American Institute of ArchItects, February, 19611 LAMENT FOR LAFAYETTE SQUARE (By L. Morris Leisenring, FAIA) What manner of people is it that destroys its shrines? True, our Nation has preserved many shrines-but it is now, in the name of progress and efficiency, everywhere destroying more than it is preserving. Our grandchildren will place the blame on our heads. As a people, we pay little heed to the voices of the few who cry a halt to this destruction. More shame to us. Lafayette Square has been the scene of few great events in our Nation's history, but it has been always, since our beginnings, the forecourt to the home of our Presidents and the site of the homes of generations of the great and the near-great. Although the square itself is not now to be destroyed, most of its surrounding buildings are, thus completely altering its character as the front yard of the White House. As the journal has said before, and will upon proper occasion, say again, the rebuilding of Washington is the concern of the entire Nation. It is not only our Capital, it is our national symbol. Thus it is with pride and deep concern that the AlA Journal presents this story of Lafayette Square, written by a senior member of the Washington-Metro- politan Chapter AlA, its preservation officer and holder of architect's license 3 of the District of Columbia. In L'Enfant's first conception of a plan for the Federal City, two elements of the Federal Government, the Congress, and the President, were emphasized in his first report and shown on his subsequent plan of 1791. In all adjustments made in this plan, by Andrew Ellicott and others, the location and relative im- portance of these has remained unchanged-the Congress House with its plaza and the President's mansion with its park, joined by broad parked areas, one directly west from the Capitol along the "Grand Avenue"-now the Mall-to the site of "the Monument," a proposed equestrian statute of General Washing- ton, authorized by the Congress in 1785, and from there on a cross-axis directly north through the President's park and his mansion to H Street, extending east and west from 15th to 17th Streets. So here, at its northern limits, lies La- fayette Square, now as always a part of the President's park, its present dimen- sions determined by required traffic lanes and desired building areas, a beauti- ful foreground to the President's home and grounds. The importance of the square in the city plan is emphasized by broad avenues extending from it to the northeast and northwest. Its north axis on broad 16th Street, extending out to Meridian Hill, is almost the exact north-south axis of the corners of the original "10 miles square." The President's House-the White House, as it has been called from the first years of its building-was placed on a direct line with the Capitol down broad Pennsylvania Avenue, a vista carefully preserved until the reputed impact of President Jackson's cane and his words "Build it here." Now we see the Treasury instead. Neither the L'Enfant nor the Ellicott plan shows the square separated by a street from the White House, but connection between New York and Pennsylvania Avenues early became neces- sary, so now the south boundary of the square is determined by the extension of Pennsylvania Avenue. The east and west boundaries were indicated by Ellicott and have become established highways very important in the square's history- Madison Place on the east and Jackson Place on the west. The land had long been the farmstead of the Pierce family from whom it had been purchased, and there were still some orchard trees and the remains of the family graveyard there when the ground was graded after 1800. L'Enfant had envisioned this as an area of residences fit to adjoin that of the President, and James Hoban's fine Georgian mansion has given good reason for great care to be taken to surround the square with buildings of proper scale and character. The area was slow in development, and when John and Abigail Adams, the first residents of the President's House, looked out over the square when they moved in during November 1800, it was not a thing of beauty. For- tunately its surrounding buildings lots were in no way suitable for development PAGENO="0241" AID TO FINE ARTS 233 by the speculative syndicates building quite creditable groups of buildings dur- ing the 1790's, on Capitol Hill, on Greenleaf Point near the old Arsenal, and on Pennsylvania Avenue out toward Georgetown. Even in 1814, when President and Mrs. Madison had to find shelter while their home was being rebuilt after the fire, the unfortunate incident of August of that year, the White House was still the only building on the square. By the time President and Mrs. Monroe moved into the refurbished mansion in 1817, building had begun on the square and before the end of his administra- tion it was well underway. Happily, the first was a church, St. John's Episcopal Church, built north of the square on the corner of H and 16th Streets in 1816. It was planned as a Greek cross, by Benjamin H. Latrobe, and by 1820 the nave bad been extended to form the present Latin cross with portico. After the church, residences gradually filled all three sides of the square and up adjacent streets and avenues, and until the end of the century and beyond, the square lived a life of glorious historical record not matched by any other American community and few abroad. As an architectural heritage it offered a picture of development from the Georgian, the Early Federal, the Classic and Greek Re- vivals, up through the post-Civil War period, the early and late Victorian and at the last, an example of H. H. Richardson's best in residential design. The "Diagram of Lafayette Park and Its Surroundings," from Frank Leslie's Popular Monthly of April 1891 (from the Library of Congress), is a valuable document, for every one of the buildings shown was in place and occupied at that time, except those absorbed by the construction of the Arlington Hotel after 1869. The "Key to the Diagram" reads like a biographical index of those prominent in this formative period. It also shows the fluid quality of American political life as changing administrations brought new residents, anxious to be near the home and office of their Chief. Before outlining briefly the history of some of the important buildings, it is well to remember that Washington was really a Southern city, lying between `two slave States, many of its residents slaveholders, with sentiment strongly divided and loyalties finally brought to a real test. From the very first it was a city of political and sometimes social antagonisms and these were nowhere more intense than around the square. Here there was no lack of drama nor of tragedy. The old houses had their share in these. The buildings are listed below in approximate order of their age: St. John's Church, 1816, often called the court church, as it was the parish church of the first Presidents, Madison to Buchanan, and frequently attended on special occasions by all the Presidents regardless of their denominational connections. The Decatur House, 1819, the first residence. Built by Commodore Stephen Decatur on his return from his brilliant victories in the Barbary wars. This fine house, Latrobe its architect, with garden and dependencies, has been pre- served almost intact. But Decatur and his lovely wife had not long to enjoy it, for in 1820 be returned to die here after his duel at Bladensburg with Commo- dore Barron-the square's first tragedy. Later came Henry Clay while Secre- tary of State to the second Adams. The year before he moved into the house a second duel occurred when he called his neighbor, the picturesque John Ran- dolph of Roanoke, out to the Virginia hills, but this time with no physical in- jury. Later it was from here that Mrs. Clay and Mrs. Calhoun carried on their social vendetta against brilliant. Peggy O'Neal Eaton, an innkeeper's daughter and wife of Senator John Henry Eaton, a special, protege of Gen. Andrew Jackson, which almost disrupted his presidential administration. In 1836 John Gadsby, an Alexandria tavern keeper, took over the house and auctioned slaves in the high: walled garden. During the Civil War it was commandeered by the Government and later was bought by Gen. Edward Beale, under whose grandfather Decatur once served as ensign. Its last owner, Mrs. Truxtun Beale, restOred it and deeded it to the Nation under the aegis of the National Trust for Historic Preservation. Many of Latrobe's original drawings were `available for the restoration. Some years previously, in a wise move to save it from threatened destruction by Government intrusion, Mrs. Beale provided for the use of the carriage house area by the Truxtun-Decatur Naval Museum. The Dolly Madison House, 1820, was the second residence on the square. Built by Richard Cutts, brother-in-law of Dolly Payne Madison, a simple colonial- type townhouse, given to Mr. Madison in payment of a debt. It was never occu- pied by him but was the scene `of Dolly's triumphant widowhood. From 1837 to her death in 1849 this was a center of the social and political life of the Capital. The house was then taken over by Commodore Wilkes who added a 70259-61--- 16 PAGENO="0242" 234 AID TO FINE ARTS third story to it and moved the entrance to H Street. It was occupied during the war by General McClellan while Wilkes was on sea duty. A dramatic. in- cident illustrating the wide range of loyalties on the square was the arrest by Captain Wilkes of hisneighbor, Senator John Slidell.of Louisiana, who naturally had joined the Confederacy and had been appointed Minister to France. On his way he was taken off the British steamer Trei~t by Captain Wilkes, causing the famous Trent affair and a violent controversy with Great Britain. From 1887 to 1952 the house was the home of the Cosmos Club, involving more altera- tions. Still intact, it is now the property of the Government, and faces early destruction. [From the Congressional Record, Mar. 6, l~61] IT Is A BRASH GENERATION INDEED WHICH WILL DESTROY ALL PHYSICAL Evi- DENCES OF ITS GREAT HERITAGE Extension of Remarks of Hon. Carroll D. Kearns, of Pennsylvania, in the House of Representatives. Monday, March 6, 1961 Mr. KEARNS. Mr. Speaker, the distinguished editor of the Journal of the American Institute of Architects, Joseph Watterson, has written me that: "It is a brash generation indeed which will destroy all physical evidences of its great heritage." Mr. Watterson mentions the well-known interest of President John F. Kennedy in the preservation of the buildings fronting on Lafayette Square, an interest demonstrated in the most forceful. and significant way when, on March 24, 1960, he introduced S. 3280 and, in a speech on the floor of the Senate at that time, declared that: "There is pending before the Public Works Com- mittee a plan to locate the Court of Claims in Lafayette Square. This means that many of the historic buildings now fronting that square will be torn down. The Dolly Madison House, the Benjamin Tayloe House, and the Belasco Theater have long served as an inspiration to generations of Americans who have visited their Capital City. Certainly before any irrevocable action is taken to destroy these buildings to provide a site for a courthouse, other sites should be investigated." In his letter to me Mr. Watterson says that: "With the interest displayed in the square by the President, and by the introduction of bills in the Con- gress, new hope has been aroused that perhaps the square is not doomed after all." Mr. Watterson ended his fine letter by saying that support for the bills which Senators John Sherman Cooper and Wayne Morse have introduced in the other House, and which I have introduced in this one, that is, S. 1020 and H.R. 3982, "will be forthcoming from the AlA and its 13,850 members all over the country." This is very encouraging news indeed. Only the other day the 600,000 mem- ber National Federation of Music Clubs advised me that it has launched a national drive in the 50 States to mobilize support for saving the buildings on Lafayette Square. In a memorandum to its national officers, its board of directors, its State presidents, and its State legislative chairmen, it is pointed out that: "It is even more important from the standpoint of history, culture, and economy that similar protection to that given historic buildings elsewhere throughout the United States, such as Philadelphia's Independence National Historical Park, and New York's Carnegie Hall, be given the historic build- ings on Lafayette Square." The fine old buildings on Lafayette Square give the Nation's Capital its dis- tinct flavor and charm, and they teach significant lessons in patriotism to the youth of the Nation. Tourists who come to the Nation's Capital from all over the world as mem- bers of conventions, or to attend national meetings. or as families intent on seeing the buildings and the sites where so much history has been made, spend, I have been informed, $300 million a year. How many will take the trouble to visit the Nation's Capital if all of its buildings, which are such an intimate part of our Nation's history, are de- stroyed for the convenience of a few individuals? Not many. I am sure. Only last year the Congress authorized the spending of up to $33 million, or one-third of the cost, to save the anëient treasures of the Nile Valley. PAGENO="0243" AID TO FINE ARTS 235 Perhaps the people of ancient Egypt will now reciprocate, and help us save our own buildings in this time when our young people feel so restless and so rootless, and whenthey so badly need to have the history of our Nation em- phasized in every possible way. I include as part of my remarks an excerpt from an article on Lafayette Square written by L. Morris Leisenring. The article appeared in the Febru- ~ary 1961 issue of the Journal of the American Institute of Architects: "The Ewell house, about 1820, built by Thomas Ewell of the Navy, father of the famous Confererate general, Richard S. Ewell. From 1824 to 1834 it was occupied by three successive Secretaries of the Navy, but it is best known as the home of Dan Sickles, Representative from New York, who on Sunday afternoon, February 27, 1859, crossed the square, and shot the brilliant young attorney, Phillip Barton Key (son of Francis Scott Key) whose affair with Sickles young wife had long been a scandal. Key was carried into the John Rodgers House, then the Washington Club, where he died. Sickles' wife con- :fessed; her husband was acquitted and forgave her. A few years later he was the famous Union General Sickles of Chancellorsville and Gettysburg. With one leg gone, he was a familiar sight on the spqare when he returned from the ivar to stump around his old neighborhood. "The Benjamin Ogle Tayloe house, built in 1828 by the son of the Col. John `Tayloe who had built the Octagon in 1798-1800. This charming house, a dis- tinguished design of the period, with garden and dependencies, had `as a fre- quent visitor, William Henry Harrison, the owner's warm friend. Later it came to be called the Tayloe-Cameron house due to its long occupancy `by Senator Don Cameron during the years of his greatest influence, then again the Little White House, as the home of Senator Mark Hanna during President McKinley's administratiOn. It still stands, but will soon `be lost. `The `John Rodger~ house `built in 1830 `by the commodore, one of the heroes of Tripoli. This site is said to have been secured by him, from. Henry Clay in exchange for a blooded Andalusian jackass, brought by Rodgers from Spain. This commodious square brick building was the scene of many events. While used as Washington's first important club it was here that Phillip Barton Key `died. While `the home of William H. Seward, Secretary of State, on the night of April 14, 1865, a near `tragedy occurred when Lewis Payne, one `of the con- spirators of the Lincoln assassination plot, stabbed and' dangerously wounded Secretary Seward. The Lafayette Square Opera House, later the Belasco Theater, was built on `thi's site in 1895. `"Another building on the east `of the square.' facing the avenue,, not shown on `the diagram, the Gunnel house, was built in 1836 `by Dr. Thomas Gunnel, a `prominent dentist. This was the only framehouse on the square. It was a typical Maryland small-town house with a long two-story gallery on the square side and a fine garden. The incident most often told of this old place is `that once the doctor, having received a hurry call from President Van Buren, his neighbor then in the White House, hastened there with the tools of his trade, ,expecting an emergency. Instead he returned with the appointment as post- master of the city. The house has `been gone for years, and its site is now occupied by the massive Treasury Annex of 1919 vintage. "It would be well to note that nefthèr Madison nor Jackson Place w'as named or paved until several years after the Madisons had owned their house on the corner and General Jackson's statute had graced the square's center. Before ,then they had been gravel drives without names. "The Daniel Webster house, later known as the Corcoran house. Built by Thomas Swann, of Alexandria, the records say in 1822, though this seems very ,early for a design of Italian villa type such as this. Presented to Daniel Webster by admirers when he l)eCamfle Secretary of State in 1841, it.was famous for his lavish entertainments. Webster sold the house to W. W. Corcoran, the philanthropist, who occupied it until his death in 1888, except for a short period during the war when, because of his strong Southern,'sympathies he leased it to the French Ambassador to avoid its confiscation by the Government. With its beautiful garden reaching `back to I Street, and with its next door neighbor, the dignified Greek Revival house built by Commander' Stockton `and~ the home of Senator Slidell, of the `Trent affair,' it survived until destroyed for the con- struction of the monumental building of the U.S. Chamber of Commerce. "Ashburton house, built by Matthew St. Clair Clarke in 1835, some say earlier. This very English, broad and high brick house, later brown stuccoed, was the British Legation and the scene, in 1845, of the signing of the Webster-Ashburton Treaty establishing our Canadian boundaries `and other matters of mutual in- PAGENO="0244" 236 AID TO FINE ARTS terest. In i849 it was again the British Legation under Sir Henry Buiwer, brother of the novelist Buiwer-Lytton. Sir Henry's secretary was his nephew,. Robert Buiwer, who wrote "Lucille," some maintain while stationed here. This fine old house still stands as the parish house of St. John's Church. "George Bancroft, patriot and historian, Minister to England during the war, took up his residence in this simple classic revival house with its extensive garden. Here he completed his monumental history of the United States, was the literary lion of his day, and gained fame with agriculturists by developing the American Beauty rose. "The Hay and Adams houses, built in 1884, designed by H. H. Richardson, for the two friends, John Hay~ and Henry Adams. Surely no two more famous men could have joined forces in adopting the square for their homes. Hay bad come to Washington during the war as a secretary to Mr. Lincoln. Adams was the grandson of John Quincy Adams, a historian and writer of the first magnitude. Here for 20 years was centered the social and literary life of Washington. Hay died in 1905 after serving as Secretary of State for William McKinley and Theodore Roosevelt. Adams was the oldest of all the old square residents when he died there iii 1918. The site of their houses is now occupied by a hotel, the Hay- Adams. Some might question the compatibility of the two Richardson houses and the White House. At least they were in scale, residential in character and * fine examples of the development of architecture in the United States. "The Blair-Lee houses, just off the square on Pennsylvania Avenue, examples of the Federal period, were built in the 1820's. Both considerably altered, they now serve to house the official guests of the Nation and are to be preserved as such in the coming demolition of all but the Decatur House in this block. Both are historic, particularly Blair House. Here, at. the request of Montgomery Blair, President Lincoln's Postmaster General, came 001. Robert E. Lee, from his beloved Arlington high above the Virginia shore of the Potomac. to be ques- tioned as to his stand in the coming conflict. Colonel Lee returned to Arlington and his Virginia and determined that his loyalty was with his State. It has been well established that the President's intention would have been to place the colonel in command of all the Union armies. A few years ago a faithful guard was killed by a wild group bent on entering the Blair House to assassinate President Truman, who with his family had temporary quarters there during the recent reconstruction work at the White House. "At the square's center is the remarkable statue of Gen. Andrew Jackson, ram- pant in every sense of the wordy dedicated with ceremony in 1853. His rearing steed balances on two hind legs by the help of a full-flowing heavily vermiculated tail. The work of Clark Mills, our first native American sculptor, it was cast in nearby B.ladensburg of bronze cannon captured by the general in the War of 1812. The statues at the four corners came much later, Lafayette in 1891, Ro- chambeau in 1902, and Steuben and Kosciuzsko in 1910, all men who came from their home countries to aid in the Revolutionary Army. The square's name did not come from the statue. It had been given long before by the people, after the ceremonies attending the visit of General Lafayette in 1824 and not officially adopted until 1852 as Lafayette Park, later Lafayette Square. "Born as a part of the President's Park before the end of the 18th century, with its first house occupied by the President in the first year of the 19th, the square lived its first century with a glorious historic record and with a growing exhibit of our architectural development fully as worthy of preservation as a Boston or Philadelphia square. Too bad that the AlA was not then preservation minded or that the National Trust was not yet organized or that Congress had not yet enacted the Historic Sites Act of 1935, giving to the Secretary of the Interior great responsibility for the preservation of historic buildings and places-or that no civic organization saw and acted to save what it was about to lose. "For now came the McMillan Commission and the plan of 1901. It was and still is considered by many rank heresy to question any part of this plan de- vised by the foremost architects and planners in the country. In restoring the principles of the L'Enfant plan they swept away railroads, cherished depart- mental English gardens and the violently expressed opinions that L'Enfant's * straight line was anathema and that `curved is the line of beauty.' They re- created the Mall and established its architectural character and boundaries, a wonderful achievement. But when they turned north they changed the Presi- dent's House and home and established it as the Executive Mansion, and in their thirst for sites for the executive department they swept the square of every PAGENO="0245" AID TO FINE ARTS 237 ~historic element and assigned to its every side executive department buildings only. "It is hard to believe it, but this was approved. More difficult of belief was the advocacy of the design shown to surround the three sides of the square with the columns of the Treasury. This was actually begun in 1919 with the construction of the Treasury Annex, the first. section of a proposed single build~ ing the length of Madison Place. The deed was done. Goodby to the Benjamin Tayloe and Dolly Madison houses, St. John's Church, Daniel Webster and george Bancroft, the Decatur and all other buildings on the west. With its mind on planning alone the AlA approved the plan and soon did the National `Commission of Fine Arts. No little plan had been made here-nor one with even a little consideration for historic values. "In line with this pronunciamento the Government soon bought all remaining property on Madison Place. The occupants were allowed to remain on short notice to vacate. More recently the Government has completed purchase of all property in the block between Jackson Place and 17th Street, except the Decatur House and the National Grange-an organization politically too difficult to move except to a site around the corner where it has built itself a new office building. On Jackson Place the Grange, the Brookings Institution, and others had built so as to change much of the old character. On H Street, the Government has done nothing and all ideas as to maintaining residential character have been lost, commerce has taken over and it is no longer a real part of the square. The first offender was the 10-story Veterans' Administration building that in 1919 took over the site of the Arlington Hotel. Little of the old will remain-St. John's Church, saved by the grace of God, and the adjoining Ashburton House, by the militant ownership of two elderly gentlewomen who wished to live in their ancestral home and more recently by its acquisition by the church. The Decatur House was saved by the same militant ownership and resistance to Government pressure and now by its ownership by the National Trust. Finally, we shall apparently always have the White House, by grace of the efforts of the Institute's resident Secretary Glenn Brown and his influence with President Theodore Roosevelt, as ~vel1 as the talents of Charles Pollen McKim, when during that administration the building was threatened by designs of a Gov- ernment agency with many extended wings and columns. That `is not all the danger it has faced. In the McMillan Commission report of 1902, three methods were considered for its greatest use: First, additions at the east and west ends (not advised). Second, to give it up entirely to public business and build a residence for the President `on one of the commanding hills overlooking the city' (not recommended as being unpopular). Third, remove all Executive Office and devote the Président's house entirely to residence purposes. (`Favored by the present Chief Executive; and to the Commission it seems to be the best solution of the problem possible at this time.') "But the square was treated roughly: `The location of the building to con- tain the Executive Office is a more difficult matter; but the Commission is of the opinion that while temporary quarters may well be constructed in the grounds of the White House, a building sufficient in size to accommodate those offices may best be located in the center of Lafayette Square. This suggestion must be taken in connection with the full development of the plan outlined below.' "Here in a long paragraph is a statement of departments that needed quarters, ending, `The proper solution of the `grouping of the executive departments Un- doubtedly is to be found in the construction of a series of edifices facing Lafayette Square,' It had been previously written that these should `be convenient to the White House, `which is their common center.' "The die has. been cast. Since the plan of 1901 there apparently has been xio hope of preserving the old square, so now it must be seen to that the build- ings facing it on the east and west complement in every way the President's House, so that the square remains as its beautiful foreground and visual ap- proach. Some very bad designs have been proposed for these areas and wisely abandoned. Under the present program, much better results can be expected. Recent acts of Congress have directed that on the complete block west, there be a building for the Executive Offices of the President, and on the east, a building for U.S. courts. Franklin Floete, former Administrator of the General Services Administration, the Government agency responsible for nonmilitary Federal building, with two Washington members of the institute, Leonard L. Hunter and J. Rowland Snyder, in charge of architectural design, engaged two well-known PAGENO="0246" 238 AID TO FINE ARTS firms to collaborate on the designs for both buildings. He made known a let- ter he received from President Eisenhower expressing his desires as to theSe buildings. In his letter he said, `It is extremely important that the architectural plans for these buildings be carried out with the greatest of thought and with: attention to the present and future dignity and beauty of Lafayete Square and' its historic past.' In it he requested that all plans be approved by the Capital Planning Commission and the Commission of Fine Arts. Mr. Floete has named the architectural firms which will collaborate in these important designs. They' are: Perry, Shaw, Hepburn & Dean; and Shepley, Bulfinch, Richardson & Abbott, both of Boston. *"There was a recent controversy over the proposed building for the courts on the east of the square, in which thé"author, as preservation officer for the Washington chapter, joined, partly to save for a time at least the remaining historic buildings, but largely to advocate the legislation proposed by three Senate bills introduced separately by Senators Kennedy, Morse. and Humphrey. These advocated the construction Of a group of U.S. court buildings near the: Supreme Court. "This grouping of the national judiciary was such a forward look that. in- vited to a hearing before the Senate Subcommittee on Public Housing, the author joined many civic groups in warmly endorsing the temporary saving of the old buildings and grouping the courts elsewhere. Furthermore, three courts needed quarters and there is room for Only two on Madison Place. But the honorable judge of the Court of Claims appeared. He had been dispossessed: from the old Corcoran Gallery near the square and he intended to stay in' the area. The Senate sided with him. The House had already done so without a hearing. Though a good judge of claims, he was not a good judge of city' planning, but he had been a- Representative in the House-and he came from Texas. "A word as to the President as Chief Executive. In his house the early' occupants did much homework. Most of the diminutive departments found rented quarters after their move from Philadelphia. Just east toward 15th Street there was a small two-story building for the Treasury almost ready when Mr. Adams moved in, and soon after, one to the west for the War Office, later the Navy. After the War of 1812, larger buildings were built in front of these' facing the avenue, on the east, the State Department, on the west of the War and other departments, separated from the White House grounds by what be- came the East and West Executive Avenues. Robert. Mills' neoclassic Treasury was begun in 1836 and gradually completed. Then in 1869, by act of Congress as to location and dimensions, came the State. War, and Navy Buildings, designed under direction of a commission' headed by A. B. Mullett. supervising architect of the Treasury. It is interesting to compare the dates of design of these three' buildings and the architectural thought of the Nation from the English Georgiami. White House, 1798, to the neoclassic Treasury, 36 years later, to the French: Mansard 33 years after that-a historic sequence that should be preserved. "We may be thankful that the massive buildings proposed by the plan of 1901 did not `immediately surround the square, but that the departments found the triangle to the east and the rectangle to the west. We may be grateful also' that GSA is progressing as now planned and that we can leave the square as a park in the care of the National Capital Parks and the National Park Service.~r tFrom Harper's Magazine, November, 19601 TEXAS PUTS ITS BRAND ON WASHINGToN (By Karl E. Meyer) "I found Rome built of sun-dried brick; I leave her clothed in marble."-Emnperor Augustus ` If Lyndon Baines Johnson should take the oath of Vice President next January, the inaugural tableau ought to afford him Augustan satisfaction. The ceremonies will take place against the backdrop of the. new east front of the Capitol, a kind of wide-screen reproduction of the original done in aseptic white marble. . If the Texan's eyes should wander, about two blocks to his left be could note a new Senate Office Building, a marble temple that befits the seat of authority. Roughly the same distance to his right, a massive new Office Building for the PAGENO="0247" AID TO FINE ARTS 239 House of Representatives (its third) will be rising from a Texas-size crater. If he should cock his ear, Senator Johnson might hear the wrecker's ball crunch- ing against buildings on Capitol Hill and Lafayette Square, just across from the White House, to clear the way for still more projects dear to his native State. Mr. Johnson would be forgiven a grateful glance at the Speaker of the House Sam Rayburn, his fellow proconsul from Texas During their joint rule over Oongres~ since 1955, the grandiose taste of Texas has been firmly (and ex- pensively) imprinted on the face of Washington. Ultimately, their plans for dressing the Capitol in a new wardrobe of marble and providing new comforts for the harassed servants of the people may cost us taxpayers up to $200 million. The scale of the construction program would impress any Caesar. The Third House Office Building alone will cost more to build than the Capitol and the three older office buildings combined. According to the General Services Ad- ministration inventory, the total cost of the four earlier structures was $51 million-or $22 million less than the overall cost of the splendid new House Office Building. As always, the critics are voicing sour objections. Costly, flashy, huge-these are their favorite words. None of the projects has received adequate bearings, they contend. Ancient landmarks, they say, are being vandalized, and the pro- gram is being supervised by a Capitol Architect who is not an architect, but a cloakroom crony of Mr. Rayburn's. They predict that Washington will soon look like Houston on the half shell. But these present objections are lost in the sound of bulldozers and pneumatic drills. For the benefit of future archeologists, therefore, here is an inventory of projects undertaken in the Rayburn-Johnson proconsulate-perhaps the most marble-minded since the days of Augustus. EARLY RAYBURN: THE EAST FRONT The first project began with the demolition of the old east front of the CapitoL Since the days of John Quincy Adams, the Nation's Presidents have been sworn in on the portico of the east front. But Speaker Rayburn found the old sand- stone facade wanting, and used his gavel to put through the $10 million re- novation job. In 1956 an obscure rider to the Legislative Appropriations Act authorized the extension of the east front by 321/2 feet, thus reviving from limbo an old scheme- once thankfully forgotten-for "improving" the Capitol. These rea~sons have been put forth for the change: (1) a supposed flaw in the building would be corrected by eYtending the facade and thus putting the dome in better perspective; (2) the old sandstone entrance was unsightly and unsafe; and (3) more office space was needed in the Capitol. Architects, informed laymen, and patriotic societies were overwhelmingly in accord in replying (1) that the alleged "flaw" was a cherished feature of the building and that correcting it was akin to mending the crack in the Liberty Bell; (2) that repair and restoration were not only feasible but less costly than the extension plan, since a Bureau of Standards study showed that the original sandstone was sound enough to be resurfaced; and (3) that while it was true, the extension would yield extra offices, the added floor space would cost about $200 a square foot, compared with $20 a square foot in the average office building. The new space would be the most expensive, observed one architect, "since they paved the lobby of the Teller Hotel in Central City, Cob., with gold." Three times, in annual convention assembled, the American Institute of Archi- tects deplored the change. The editors of the three major architectural maga- zines expressed scorn. Frank Lloyd Wright called it absolutely incredible. Leading newspapers across the country were dismayed. And frequent thunder- claps emanated from the Daughters of the American Revolution: "Shall we dc- stroy the evidence of the good taste of the Founding Fathers ?" But Speaker Rayburn did not budge. lie was Chairman of the Commission for the Extension of the Capitol, and his fellow members-including Vice Presi- dent Nixon and former minority leader of the Senate William F. Knowland- did not feel inclined to quarrel. Matters of taste were the department of J. George Stewart, Architect of the Capitol, who, notwithstanding his title, is not an architect. Additional esthetic support came from Roscoe P. DeWitt, an archi- tect from Dallas, Tex., who was a major adviser to Mr. Stewart. Mr. DeWitt'a portfolio of buildings in his home State includes the Sam Rayburn Library in Bonham and a suburban store for the Neiman-Marcus Co. in Dallas. PAGENO="0248" 240 AID TO FINE ARTS A few mavericks in the Senate, however, heeded the dissenters, and a bill to. block the project was introduced. The hearings on this bill were the first and only held on the east front extension. At one~ session, on February 17, 1958,. the Capitol Architect informed his critics that plans for the extension "do not belong to the public" and "are not for publication." Douglas Haskell, editor of Architectural Forum, said he was perhaps naive but he always thought the Capitol "belonged to the people of the United States." No secrecy was involved, Mr. Stewart maintained, "It is the way things are done on the Hill.". A piquant example of the "way things are done'? came the following May 27, when Mr. Rayburn made his first appearance as a speaker at the National Press Club in 21 years, expressly to defend his project. The Speaker said that. bids would be let on the project "as soon as the noise settles down on the Hill." . He contended that the extension had already been authorized and "I don't see any use to chew that old cud again." Even if the Senate tried to halt the project Mr. Sam added, "I am going to hold we have already passed it." Speaker Rayburn's prescience was uncanny. The noise settled; the Senate: defeated the delaying bill; and on August 20, 1958, the Safeway Steel Scaffold Co. of Bladensburg, Md., placed the low bid for the preliminary surgery on the Capitol. The new east front, a shiny marble replica of the old, will be ready for the next inaugural, just as Mr. Rayburn promised. ARCHAIC JOHNSON-CHAVEZ: THE NEW SOB While Speaker Rayburn was making his stand on the east front, the Senate was already busy with its own building campaign. Under the aegis of Majority Leader Johnson and the Senate Office Building Commission, ground was broken on January 26, 1955, for the structure that later became known as the Great White Goof on Capitol Hill. In what became a familiar pattern, Capitol Architect Stewart returned again and again for additional funds. This provoked Senator~ Allen J. Ellender of Louisiana to say at one point, "I have served here for 22 years, and have never seen an architect who found more things to do than Mr. Stewart. It is . un- ending." Mr. Stewart, startled, asked, "Is that in the way of a commendation?" The Senator drawled back, "You can take it that way if you want to. Whether it is right or wrong I don't know, but we are spending by the millions." First there was the $2.8 million needed for the new Senate subway system, then there was a request for $9.5 million to remodel the old SOB (as the office is known), next came a $1 mifflon bill for new furniture for the new SOB, then came $965,000 to buy adjoining property to provide parking space for 285 cars, and then $625,000 to buy up remaining space near the new building. All re- quests were approved except the $9.5 million which was whittled to a pin-money $250,000 for remodeling old SOB suites. However, costs have a way of rising, and as work went along it was necessary to return to the coffers for more than another million. As a final fillip $5,000 was spent on two monster bronze plaques to immortalize the officials responsible for the new SOB. When the new building made its debut in January 1959, it proved to be an excellent example of what $26 million can buy. The exterior is chaste white Vermont marble, but within there is an uneasy coexistence of some 20 varieties of stone, ranging from Ozark Rouge to Radio Black. Colors like peacock green, rosy pink, and tangerine dance from the walls of the suites, committee rooms, TV studios, and ladies' lounges, and in each suite as a tache de couleur there is one cherry-red armchair amid sofas in nutty brown. Besides an auditorium for 500 and twin cafeterias seating 350 apiece, the building contains 36 public restrooms, 46 marble drinking fountains, 19 shower stalls, 32 service sinks, 129 public washbasins, and 205 senatorial washhasins-it has, one newspaperman ob- served, "more pipes than a Chinese opium joint." But no sooner had the Senators moved in than oaths began to blacken the air. Nothing seemed to work-except the things that worked too well. Clocks halted, stuck at 9:45 because the hands were too heavy. Ghostly wails issued from what. appeared to be loudspeakers. Mail chutes sucked letters from the sender's hand and sent them plummeting at such speed that they caromed off the fancy mail con- veyors in the basement. Elevators were as capricious as constituents; ramps on the underground garage bad to be rebuilt because 1959 king-sized cars scraped their chassis. Because one contractor evidently forgot to leave a hole for the PAGENO="0249" AID TO FINE ARTS 241 new subway, another contractor had to chop open a thick, tiled wall. The gadget-laden intercom system boomed like a foghorn or croaked feebly and went dead. "You can hear a beep sound from 350,000 miles in space," grumbled Senator Warren Magnuson, of Washington, "but you can't make yourself heard over a microphone 6 inches from your face." All this culminated in the scandal of The Carpet. Some Senators said that the elegant tile floor, costing $100,000, was too slippery, and requested carpeting. This would have cost $150,000 more and would have entailed unhinging 600 doors in order to shave off a half-inch of walnut from the bottom. But the more .frugalminded, led by Senator Paul Douglas, of Illinois, won a compromise: carpets would be optional for those who wanted them. Fifteen Senators did; the bill to taxpayers is a mere $53,550. In addition, Senators still quartered in other parts of the Capitol were gen- erously compensated. Majority Leader Johnson wound up with a total of six suites scattered in the Capitol and old and new SOB's. The Senate also voted to spend $40,000, originally assigned' for "rusty plumbing," on a new swimming pool in the basement of the old SOB. The white-tile pool will be a handsome complement to the existing health suite which employs three masseurs. Thus the Senate has become a citadel of comfort as well as rectitude, a place where members of the inner club can grump in snug surrounding about the decline of Republican virtue. Full credit for this goes to Mr. Johnson-and to Senator Dennis Chavez, chairman of the Senate Building Commission. MIDDLE RAYBIJRN: THE THIRD HOE, Among Mr. Rayburn's many 10-gallon hats is the chairmanship of the House Building Commission, and in this capacity the Speaker kept a watchful eye on the upper Chamber's steam shovels. Only a few months after the new SOB was underway, Mr. Rayburn found that his Chamber's office, buildings were cramped and inadequate. He advised the House Appropriations Committee that a $2 million starter was needed on a new building, and 4 days later, the House as a whole approved his plan. Mr. Rayburn personally took the floor to urge swift passage. Phase two quickly followed as Architect Stewart an- nounced plans for a $18.5 million program to remodel the two existing House Office Buildings. By the time the numbed House got around to debating the project, the founda- tion for the third HOB was already being dug. Nonetheless, an attempt was made on May 21, 1957,. to strike out a $7.5 million appropriation for the new building. Mr. Rayburn again took to the floor and patiently explained that it would b'e "false economy" to eliminate the funds, because excavations had begun. Meanwhile, curiosity was expressed about what the new building would look like-and it was discovered in August 1959, that no plans had yet been pre- sented. By then, some $16 million had been spent on digging the biggest hole in town. Mr. Stewart's office reported that .drawings were not available, but that Harbeson, Rough, Livingston & Larson, of Philadelphia, bad prepared sketches which might be released some day. The Architect's aid'es did confide that the new building would be H-shaped, 4 stories high, and would contain 170 suites, 15 subcommittee rooms, and parking for 1,638 cars. As to cost, one breakdown includes $64 million for construction and nearly $8.5 million for related costs including $1.4 million for a sewer to carry a creek benea,th the building. But prices are going up, and Representative H. R. Gross, of Iowa, may yet be right in predicting that the total cost will ultimately reach $82 million. On October 15, 1959, a sketch was finally published. Critics said the new building was in conventional Federalese, i.e., without any discernible style. But whatever the harsh contemporary judgment, when the third ROB is com- pleted by 1962, it will surely be a vintage example of middle Rayburn, a suitable monument to the builder from Bonham. JUDIcIAL RAYRURN: THE COURTHOUSE Lafayette Square, a small public park in front of the White House, still possesses something of the sleepy charm of the Capital's buggy and gaslight era. But, lamentably, not for long. Some of the old buildings surrounding the square have already been doomed as the site for a monster Executive Office Building. Most of the rest are about to be torn down to make way for a courthouse occu- pied by two Federal benches headed by judges from Texas. PAGENO="0250" 242 AID TO FINE ARTS Both the Court of Claims and the Court of Customs and Patent Appeals need more space. On this point there is no dissent. But Chief Judge Marvin Jones and Chief Judge Eugene Worley have evidently determined that the only suit- able site for their courthouse is on Lafayette Square, and on the side occupied by the Dolly Madison House, the Benjamin Tayloe House, and the old Belasco ¶Uheater. When this plan was announced a few months ago, the wholly expected outrage of the public forced the Senate to hold hearings, with wholly predictable results. a host of civic organizations appealed to the conscience and sentiments of the Senate, and urged that the Belasco Theater be rehabilitated as a functioning opera house-something that the District of Columbia now lacks. The citizens had the arguments; the judges had the proper birth certificates. Both judges are former Texas Congressmen, and Judge Jones also happens to be Sam Rayburn's brother-in-law. Congress approved the courthouse plan, and sent it along to the White House, whose present tenant-as some noted in near paranoiac desperation-was born in Denison. Tex. The yen to build, to "improve," to marbelize is insatiable. And there is a perverse logic in COngress' building boom. Watching the mushroom growth of new executive buildings around Washington, the frustrated legislators find relief through high-banded imperialism in the one area that is indisputably beyond the President's control. Like a householder furious with his more successful neighbor, Congress can still smash up the dishes in the kitchen. A choice piece of crockery in the Capitol kitchen is the west front. In a re- port dated August 1957, Architect Stewart listed the extension of the west front of the Capitol in a table of things to do. While the plan is now dormant, it is sure to be revived because it envisages, as a sugarplum, yet another restau- rant for Members of Congress. Then there is the proposal to extend the House and Senate wings on the Capi- tol's east front in order to match the extension of the central portico. This plan has been urged by John F. Harbeson and Gilmore D. Clarke, both architectural consultants to Mr. Rayburn. Presumably the purpose of the new extensions will be to correct the "flaw" caused by the present prominence of the main portico. Finally, there is the proposed new annex to the Library of Congress-a build- ing which will contain more shelfspace than the present Library and annex combined. This summer Mr. Rayburn moved with characteristic alacrity to acquire two blocks near the Capitol. With a lack of debate the Supreme Soviet might envy, Congress quickly approved a $5 million appropriation-pausing only long enough to hear Representative John Rooney, of New York, term the prop- erty "ptomaine row" because the restaurants on the two blocks do not meet Mr. Rooney's exacting culinary standards. Come Kennedy, come Nixon, come Johnson, come Lodge, the game of growth- manship on Capitol Hill has only begun. [From the New York Times, Sunday, May 22, 1960] WASHINGTON'S LAFAYETTE SQUARE Ilxian SIF,oE (By Alvin Shuster) WA5HINGTON.-TO most residents of the Nation's Capital, the construction of a new Federal building ordinarily makes about as much of an impression as the ~arriva1 of another politician in town. There are so many of them here already, nobody minds one or two more. * This traditional apathy has not prevailed, however, in connection with plans to construct new Federal offices along historic Lafayette Square, the tree-shaded "President's Park" just across Pennsylvania Avenue from the White House and one of the capital's most pleasant tourist retreats. Quite a few Washingtonians are vigorously protesting the proposed construc- tion and the cry "Save Lafayette Square" has been raised. Legislation has even been introduced in Congress to preserve what remains of the square's postcolonial atmosphere by designating the area a national `historic site sim- `liar to Philadelphia's Independence National Historical Park and other shrines .across the country. PAGENO="0251" AID~ TO FINE ARTS 243 The protests have gathered such momentum to date that the Senate Public Works Committee, reversing an earlier position, has now decided to hold hear- ings on the preservation proposals. These are aimed specifically at saving three edifices on the east side of the square-the old Belasco Theater, a house built by Dolly Madison about 150 years ago, and another built by Benjamin Tayloe around the same time. PARK'S GREATEST PERIOD Opponents of the proposed construction say the office buildings now in the planning stage would remove from the Washington scene all the reminders of the park's greatest period, the century starting with the end of the War of 1812. Around the square in this era revolved the city's most brilliant political, literary, diplomatic, and social life, and in its surrounding old homes lived such notables ~as James Madison, Daniel Webster, William H. Seward, John Hay, James G. J3laine, Henry Clay, Roger B. Taney, and John Randolph of Roanoke. The park itself, where many tourists and residents have strolled, is not in jeopardy today. The equestrian statue of General Andrew Jackson will con- tinue its static ride in the middle of the park, and the General's colleagues on the four corners of the park will also remain untouched. Represented are Gen. ~Thaddeus Kosciusko, Baron Von Steuben, Count De Rocham'beau, and Marquis De Lafayette himself, all Europeans and all soldiers who helped the American struggle for liberty. At stake, however, is the "atmosphere" of the park, the citizens' committee el'ums Pl'ins call for razing historic buildings on both the east and west sides of the square and replacing them with the new office buildings On the west side of the park, on Jackson Place, would rise a new building for the Executive Offices of the President. On the east side, on Madison Place, would rise a new structure for the Court of Claims and the Court of Customs and Patent Appeals. The plans for the west side are already set and no one seriously hopes to up- `set them. Down will come all the buildings except one on `that side of the park. The exception is the Decatur House, built in 1819 when the naval hero, Stephen Decatur, returned from the Barbary Coast campaigns. The first private dwelling built on the square, it is now held by the nongovernmental National Trust for Bistoric Preservation. The pressures involved in all the construction planning have been substantial, to say the least. One illustration of the hehind4he-scenes maneuvering for space around the park involves the National Grange. EMBATTLED FARMERS The national farm organization had its offices on Jackson Place facing `the square and, according to the original plans, the only two buildings that would `have remained on that entire block would have been the Decatur House, facing the square, and Blair House, the President's guest house, around the corner on Pennsylvania Avenue. The Grange fought back, however, and won permission to construct a new building around the corner from its present site. The building, just completed, `does not face the square, but it nevertheless is on the same historic block. The new Executive Offices will be built around it. Another illustration of the maneuvering involves the Court of Claims which `had been planning to `have its offices in the new Executive Offices Building. There were some second thoughts, however, and the General Services Administration, the Government's housekeeping agency, and the court's Chief Judge Marvin Jones, ii former Texas Congressman and long-time friend of House Speaker Sam Ray- burn, started looking around for another site. They did not look very far before they decided the best place for the court would be just across Lafayette Square.. on the east side, and subsequently plans were submitted to Congress to tear down Dolly Madison House, the Benjamin `Tayloe House, and the Belasco Theater, now used by the United Service Organ- izations (USO). This latest move has stirred up the campaign to preserve the square. Demo- eratic Representatives Frank Thompson, Jr., of New Jersey, and Harris B. McDowell, of Delaware, both leaders in the fight, claim it would be `an "act of supreme folly" to destroy buildings "which give the White House park an early American distinction and charm." Democratic Senators John F~ Kennedy, `Hubert Humphrey, and Wayne Morse, all' announced candidates for the Demo- `cratic presidential nomination, have also introduced bills to save the structures. PAGENO="0252" 244 AID TO FINE ARTS The oldeat of the three historic buildings is the Madison House, built around 1820. After the death of the fourth President, his widow devoted the proceeds of the sale of the Madison papers to restoring the mansion and she occupied it until her death in 1849. During the Civil War it was used as one of the head- quarters of the Army of the Potomac under Gen. George McClellan and Union soldiers camped right in the park. Today the building is occupied by one of the Government's newest agencies, the National Aeronautics and Space Adminis- tration. The other historic residence on the block was built in 1828 by Benjamin Ogle Tayloe and later owned by a succession of high-ranking capital leaders. When Senator Mark Hanna, the celebrated power behind the throne of the McKinley administration, lived there it was known as the Little White House. Tayloe, whose father was a wealthy Virginia planter and a close friend of George Washington, collected antiques from throughout the world for his home and during his lifetime the house was frequented by the leading diplomats and political figures of the day. PROPOSED RESTORATION The Belasco Theater was opened in 1895 as the Lafayette Square Opera House, and Lillian Russell, Sarah Bernhardt, Julia Marlowe, and Maude Adams, among others, performed there. One proposal aimed at preserving the historic atmos- phere of the square calls for the restoration of the Belasco for use as a repertory theater. Whether the efforts to save the square will succeed remains to be seen, but as the Washington Post and Times Herald pointed out in a recent editorial, the decision should have been made long ago to preserve the residential character- which predominated around the square until World War I. "With a little more foresight, the square could have remained a pleasant patch of the past," the paper noted. "Our grandchildren may well reproach us for failing as guardians of a heritage worth saving." [From the Washington Post, Friday, July 1, 1960] THE TEXANS VERSUS LAFAYETTE SQUARE (By Drew Pearson) It isn't Senator Lyndon Johnson's fault, but some of his fellow Texans aren't building up any good will for Texas in the Nation's Capital. This includes Speaker Sam Rayburn, Lyndon's campaign manager. Two Texans have just maneuvered to disrupt the colonial architecture of the most historic square in America with a modern new brick and glass court build- ing, chiefly because one of them wants to walk to work. The Texan who wants to walk to work is Judge Marvin Jones, of Amarillo,. Sam Rayburn's brother-in-law, who wants a new Court of Claims building: erected in place of the historic Dolly Madison Mansion, the Benjamin D. Tayloe House, and the old Belasco Theater on Lafayette Square, diagonally opposite the White House. The Dolly Madison Mansion, where the wife of the fourth President gave some of her gayest parties, is one of the oldest colonial houses in Washington~ The Belasco Theater is being proposed as a small-scale opera house in the one major capital of the world which has no opera house at all. However, Judge Jones lives at the University Club, a few blocks away, on 16th Street. And it obviously was more convenient for him to have his new court building within walking distance. The judge can also walk across the square to the Metropolitan Club for lunch, then back to the University Club to play bridge. TEXANS AND REPUBLICANS Another Texan. close to Sam Itayburn is Eugene Worley, judge of the Customs and Patent Appeals Court. He, too, wants to tear down the Dolly Madison Mansion, et al., in favor of a modern court edifice. These two Texans, who have influence with the Democrats, were joined by Republican Judge I. Jack Martin, also of the Customs and Patent Appeals CourL Martin was Senator Taft's assistant and former White House contact man with PAGENO="0253" AID TO FINE ARTS 245 Congress, so has influence with both the White House and congressional Repub- licans. So, although every civic-minded organization in the Nation's Capital went to bat for the preservation of Lafayette Square, these two Texans plus one Taft Republican proceeded to get their way. At first, however, the White House balked. Conscientious Franklin Floete, head of General Services and in charge of public building, testified that he had nu alternate site in Southwest Washington. Furthermore, Floete said the new site would hold three courts instead of two. At Lafayette Square site it would mean an uncomfortable squeeze to include the U.S. Tax Court, which has to move anyway. The two Texas judges aren't interested in it, however. The head of the Tax Court, Judge Edgar Murlock, isn't from Texas; has no politi- ~al pull. Immediately after Floete urged another site, the two Texas judges got panicky. Judge Jones phoned Carl Levin, head `of the Citizens' Committee To Save Lafayette Square, offered to make a deal. "You can keep the Belasco Theater," he proposed, "but let .us take the Dolly Madison House and the Benjamin Tayloe House." Levin rejected the deal. "The people of Washington aren't interested in a barter deal," Levin replied. We re interested in preserving the most historic square in America Levin later explained to friends. `At this point the Republican judge, Jack Martin, began pulling wires with old friends in the White House. Suddenly Floete found the ground being cut from under him. "You'll have to get a lot of support to make my proposal stick," he confided to civic leaders. They got a lot of support-from 30 top civic organizations. But Judge Martin got more from the White House. Floete, a Republican, was told to reverse him- self. Ike, he was told, favored the demolition ~of the historic buildings on Lafayette Square. MORE TEXANS Last week another Texan, Sam Rayburn, pushed a $5 million appropriation through the House to buy up two city blocks to make room for an expansion of congressional buildings. Similtaneously the House Appropriations Commit- tee told the District of Columbia, in effect, to jump in the Potomac when it came to building four badly needed schools. On the same day, Senator Dennis Chavez,' of New Mexico, put through an appropriation of $40,000 to build a new swim- ming pool for Senators. Chavez is the chairman of the Public Works Commit- tee, who is helping his neighbors from Texas to raze the historic buildings on Lafayette Square. On the same day, another Texan, charming Albert Thomas, of Houston, knocked $2.8 million off, the cost of building a sewer from the new Dulles Airport. At the same time, the same Congressman Thomas was angling with the Interior Department to turn part of Normanstone Park, which is National Capital Parks land opposite the British Embassy, over to the ladies of Congress and their Congressional `Club. These wives of Congressmen would not have to pay for the Government land. [From the Washington Post, Washington, D.C., Sunday, June 12, 19601 THE BEAUTIFUL BELASCO RITES PROMPT ATTENTION (By Paul Hume) Although it has been known as the Belasco Theater for many years, there are letters carved in stotie over the door of the building that stands on `the east side of Lafayette Square that read Lafayette Square Opera House One of the extremely rare errors I have, ever found in my favorite reference book, Oscar Thompson's edition of the "Intertiational Cyclopedia of Music and ~fusicians," the Belasco Theater is named as the së&ie of the first American per- forman~e of an opera you have all heard of Madam Butterfly Actually that ~remiere took `place over on F Street, in the `Columbia Theater., Quite possibly the reason for the error can be found `in the review which ap- peared in the Washington Post of October 16, 1906, the day after the premiere. in the first paragraph of the review the writer correctly locates the opera in PAGENO="0254" 246 AID TO FINE ARTS the Columbia. Some paragraphs later she refers to the beautifully dressed audience that gathered to hear the Puccini work for the first time in tile Belasco Theater. No matter. What is important to us today is that in the same week that the first American audiences were hearing Puccini's opera, an event that preceded its Metropolitan Opera debut by nearly 4 months, the Belasco Theater was being advertised in the Washington Post as the home of a series of concerts to be given by the Boston Symphony Orchestra under the direction of Karl Muck. The same year was to see the Philadelphia Orchestra in its annual series, given in~ the National Theater. Solo artists appearing that year included Schumann-Heink, Moriz Rosenthal,. Nordica, and dozens more. Many of these artists and many of the largest visiting ensembles that came to Washington appeared in the Belasco Theater. It is a building with a unique location. Imagine a beautiful lyric theater, fully capable of housing opera, ballet, and concerts, facing one of the loveliest squares in Washington, a theater to which the President of the United States: could walk in 2 minutes, and to which he could take his guests for a rich evening's entertainment. This theater is standing. It is not waiting to be built. To remodel it corn- pletely and put it into absolutely first-class condition, ready for the world's great artists and performing ensembles would cost not any millions of dollars.. Not even $5 or $3 or even $1 million. Architects, designers, opera and theater planners have gone over the Belasco and have stated that it could be completely restored for around three-quarters of a million dollars. In the meantime the White House has asked Congress to appropriate $12 million for half of the cost of a Freedom Wall. And we are wondering how and where to begin raising the $75 million that is set as the cost of a national center for the performing arts. Other millions have been suggested as the cost of memorials for Franklin Delano Roosevelt and for the still living Herbert Hoover. It now appears that New York City will be fortunate enough to enjoy life in its new Lincoln Center, and also providently to retain Carnegie Hall as well. Washington, which at present has none of the theater and concert facilities that were available to this city in 1906, will never reach a point where a restored Belasco Theater will not be a great asset, even when the National Cultural Center is completed. In the meantime, how is it possible that anything can long obstruct the neces- sary authority and financing of what could be one of our country's finest theaters, and one that is so sorely needed day after day? A nod from the White House, and we could look forward to concerts, operas, and ballets in a beautiful setting, in `time for `the beginning of the season of 1961-62. Here's to the reopening of the Lafayette Square Opera House, attended by the next President of the United States. [From the Washington (D.C.) Star, May 8, 1960] OUR BELASCO THEATER DESERVES A BREAK (By Day Thorpe) At the first meeting of the Citizens Committee To Save Lafayette Square last week, 30 or 40 people gathered together to effect their éommon purpose of forestalling the de~truction of the buildings on the east side of thefrout yard of :the White House. They were motivated by sundry sentiments-nostalgia, distaste for Govermnent gothic, the sense of history, and a desire for a new operating theater in the near future. Bills are now before Congress to save the Lafayette Square Opera House (later called the Belasco Theater) and to re- store it to the condition it was in when purchased by the Government in 1940. To have streng~th, such a movement should enjoy singleness of purpose inspired by a variety of incentives. Fortunately, everybody wanted to save the old block of buildings and there was no common reason advanced why the rescue is `neces- sary, nor any universal attestation to the `beauty Of the street. Some found the Bel'asco only potentially utilitarian, while to me it also is beautiful, although obviously not to be classed with our temporary buildings on the Mall, presently under no sentence of destruction. PAGENO="0255" AID TO FINE ARTS 247 DOUBTS AS TO HISTORY What was most curious to me, however, was the doubt whether the Belasco could `be rebuilt into a first-rate theater-whether in fadt it had ever been one. There was a general impression that the theater, built in 1895, became an oddity, a durable relic, in 1896, or shortly thereafter. When I remembered Barrymore as Hamlet in the Belasco in the early 1920's, it was suggested that I was thinking of the Poli'~. I am no antiquarian, but I was certain that I recalled scores if not hundreds of shows I had seen at the Bel'asco in my youth. Opera, Broadway shows, and even a resident company dedicated to weekly productions of musical comedy. Three or. four of the yellowest clippings in a fat file on the theater here at the Star ex- tended my memory backward two-decades. Whatever `the Belasco may not have, it has a history. The Lafayette Square Opera House opened on September 30, 1895, with a production of the opera "La Tzigane," written by Reginald d'e Koven for Lifflan Russell. The show was warmly received and the thea!ter greatly admired, though the Star critic notes that Miss Russell's first solo "is not so satisfying as it should be." The cant of criticism is not new. A HOST OF THE GREAT Francesca Lawson, who ~as at last week's meeting, remarked that she had sung Micaela in "Carmen" at the Beiasco, and that she had heard Tetrazzini there. The Star files confirm her memory-not only Tetrazzini, but Caruso. Schumann-Heink, Jenny Lind, and Amato sang there. It was the Washington home of the Metropolitan Opera, the "swankiest place in all Washington," according to John J. Daly, in an article in the Star published in 1940. Helen Hayes and Ruth Chatterton both made their debuts at the Belasco. ma Claire was often there; also David Warfield, Mae West, Weber and Fields, Walter Hampden, De Wolfe Hopper, John Drew, Maude Adams, Edna Wallace Hopper (from whom all proper young boys of my generation hoped we could learn about sex-a misconception curiously `based on the fact that her shows were adver- tised "for women only"), Will Rogers, Al Jolson, and probably many others. `Ziegfeld first saw Will Rogers at the Belasco, and signed him immediately in his dressing room for the Follies. A story about Rogers of that time shows that all his jokes were not wildly funny and also that Eisenhower is not the first to find that many Americans believe a President on a golf course to be somehow incongruous with proper decorum. WILL ROGERS' VERSUS HARDING "Will Rogers that week," recounts the old Star clipping, "encountered the first and only objection to his humor, which was registered from the White House. Among his drolleries was this: `The American public will never get much accomplished until they get a President who gets seasick and who can't play golf.' * * * "A Secret Service man called at the Belasco and conveyed word that the White House would appreciate it if Mr. Rogers would eliminate the joke. As it was an important part of his routine and got appreciative audience re- sponse, Rogers refused." Several months later when Rogers was in town in another Ziegfeld show he tried to get an invitation to a White House reception and "was politely in- formed none was available." Whereupon, Rogers added a few lines not `in the script to his next performance. "All my life I have been making humorous observations and comments about the great and the near-great. Invariably, they have accepted it in a spirit of fun and with an appreciation that no malice was intended. I regret that I have offended President Harding, but I can also say he is the first prominent' man to publicly object to my stage liberties. I am sorry he can't take a joke." Later in his career, I suspect, Rogers would either have left it out or tightened it up, but nevertheless the incident is perhaps an indication that our Presidents, among whom Harding, Wilson, Coolidge, and Hoover were fans of the Belasco, do not invariably find a theater at the front door of the White House an unmitigated blessing. I, for one, devoutly hope that future Presidents will have an opportunity to give the Belasco another chance PAGENO="0256" 248 AID TO FINE ARTS [From the Washington Post, Tuesday, May 24, 1960] C0IiRVED EFFORT MAY SAVE SQUARE Representative Frank Thompson, Jr., Democrat of New Jersey, warned yes- terday that "highway builders are charging through Washington's historic sec- tions to build more offices for bureaucrats." He said that "there will have to be a concerted effort to save Lafayette Square." Thompson spoke at a meeting at which Mrs. El. Morgan Pryse, a member of the District of Columbia bar, was elected president of the District of Columbia Federation of Women's Clubs. Thompson, one of the prime movers for the National Cultural Center, also suggested that should its cost of $75 million delay complete construction in the near future, a plan to go ahead and build it a unit at a time, for immediate use, might be an answer to the problem. Mrs. Pryse, currently the federation's parliamentarian, is a former president of the Marietta Women's Club and also serves as second vice president of the Entre Nous Club. Mrs. Pryse was the choice of the federation's nominating committee and was unopposed when the committee presented her name as presidential candi- date a month ago. All women whom Mrs. Pryse selected for her cabinet were in turn endorsed by the clubs of which they are members, preceding~ the nominating committee's report. This group, elected yesterday with Mrs. Pryse, at a meeting at the Willard Hotel are: Mrs. Leonard W. Thomas, first vice president; Woodbridge Book Club. Mrs. Paul W. Burke, second vice president; Takoma Park Women's Club. Mrs. Andrew G. Weaver, Sr., recording secretary; Petworth Women's Club. Mrs. Robert Eugene Bell, assistant recording secretary; Association of Philip- pine-American Women. Mrs. Jerry Ness, corresponding secretary; Sportsettes Club. Mrs. George H. Foster, assistant corresponding secretary; Entre Nous Club. Mrs. Francis Irving Brook, treasurer; Pro Bonata Club. Mrs. James G. Stephanson, assistant treasurer; Southeast Women's Club. Officers will be installed on June 21. The Navy Mothers Club reported on its history through the years and it was also announced that the family of Mrs. Stephan Wasile, a member of the Southeast Women's Club, has been selected as the District of Columbia All America Family of the Year. They will fly to Florida on Tuesday for the national competition. [From the Washington Post, Sunday, Dee. 25, 1960] CHEERS ARE DUE CAPITAL'S THEATERS (By Richard L. Coe) Christmas greetings-and especially to our town's theaters. They have per- sonalities, too. Historically there's Ford's. Senator Milton Young (Republican, of North Dakota), has been giving it his special care and in time, thanks to the initial push of Melvin B. Hildreth this will get back to its old look of that historic 1865 night. Not much has changed since 1865 in the way of getting theater tickets. That Good Friday afternoon the Lincohis planned to go that night to see Adah Meneken in "Mazeppa," but someone piously recognized that a bareback riding queen was hardly the thing for that evening. So a messenger was dispatched to change the tickets of the White House party from the National to 10th Street. If you want to buy theater tickets now it's much the same kind of effort though the phone has been invented since. But queen of our lot remains the National haunted backstage with* the ghost of a murdered minor actor, the National's been rolling along on this spot (in five different buildings) since 1835 and all players in America look forward to playing there. Ultimately there may be confusion between the National and the Na- tional Cultural Center but change the name of the National? That wouldn't sit well with true Washingtonians-or our savvy taxi drivers. Next year let's find a new word for culture. That one's a self-conscious dog. PAGENO="0257" AID TO FINE ARTS 249 When you pass the Belasco and its USO sign, wish it a merry Christmas, not just for its past but a future. Some folks are pulling hard that the new administration will reverse the decision to tear it down for a Federal court building. Tireless George Frain, of Capitol Hill, is working on this and so is William A. Grant, of the Young Democratic Club. They point out that early in 1960 Senator Kennedy was among those trying to save Lafayette Square's historic buildings and that, as President a year later, he might accomplish this. It would be an expense to restore and the seating capacity might prove too small for some attractions. But a score of other events could here find a sorely needed home. So a toast in eggnog to this hopeful urge. There's Loew's Palace, oldest of our film houses and still F Street's flagship. It's big, it's friendly, and for some 47 years it's been the town's favorite location- wise and productwise, even in this day of unpredictable bookings. So, a proud Christmas to the Palace and all its people. You can't help mentioning the Capitol in the same breath since it is the Capital City's headquarters of Loew's lasting empire. Originally the Fox, it was built by Roxy and has outlasted his mightier Gotham cathedral. It's always a luxurious feeling to wonder into its spacious lobbies and though it's an admitted makeshift for such visitors as international ballets and opera, it never fails to put out the red carpet for our classiest visitors who wouldn't be in town without its big auditorium, compromisable stage. If you're an old Washington hand you've seen a lot of names on its big, yet initimate, stage. The Capitol's nearly 35-year history now faces an iffy period. With the lease due to expire in 1962 both Loew's, Inc., and the National Press Club which owns the building, are jockeying over new terms inevitable in our economy. But with the National Cultural Center no more than the shadow of a mirage on a distant horizon, it's inconceivable to think that the global-minded press boys would turn this space-the theater has as much cubic footage as the Ring Building-into a parking garage, a bowling alley, or office space. That would leave us with no stage, even a limited one, to be commandeered by a state visitor for a performance honoring the Nation's first family. This will be a worrisome question until it is settled. There's Keith's the face-lifted dowager of 15th Street. Its past is nothing short of fabulous. Here Mrs. Woodrow Wilson used to lure her harried wartime President-husband for vaudeville, "to give him an atmosphere in which he could laugh." The boxes where the Wilsons used to sit are gone now and the still beautiful Edith Boiling Wilson has no regrets over that disappearance. "The worst seats in the house in any house," she'll recall to you, "but that is where the Secret Service had to put us. Still those performances were wonderful escape valves for him." Now Morris Cafritz owns the building and what his plans are for the theater when the present RKO lease expires next year he is keeping to himself. There's the Warner, once the Earle, named for a Governor of Pennsylvania, who once was a theater man. (Interesting how theater moguls drift into political life.) There's the Metropolitan, narrow because that's how they made the early ones, specially built for film theaters. Oldtimers still miss the news- reels at the Trans-Lux, named because its projection scheme was from behind the screen. They changed all that a decade ago, but the house still goes by the Latin term for "through the light," though the light's now reversed. Greetings, too, to that adaptable little building in the heart of our financial 15th Street. Or did you realize that the Playhouse once was a bank, then a restaurant till that gallant pioneer of the art houses, Louise Noonan Miller, shot a wad on yet another conversion? Spray some holly, please, around the MacArthur. It occupies a rare position in local movie history. Until the K-B chain took it over for first runs, downtown ruled the film roost. It had been allowed to sink into thrice-weekly showings with lazy minded traditional bookings, until Marvin Goldman and Fred Burka decided a lot of potential moviegoers lived out that way and were entitled to something other than stale second runs. Its success revolutionized Wash- ington movie habits and its cannily chosen films gather the faithful even on blizzard nights. Some red ribbon, `too, for the Dupont, which set a pace with the best imports it could find, coffee in the lounge, display space for local painters, and a policy of "no popcorn, please," making it the shiniest theater in town under the guid- ance of our ony female manager, genial Jean Imhoff. 70259 O-61----17 PAGENO="0258" 250 AID TO FINE ARTS Roll out keg for Arena Space, our "Old Vat," which got that nickname because its 500 seats are in what once was the hospitality hail (or beer-tasting center) of the Heurich Brewing Co. The new Potomac Bridge will demolish this, but we'll always be grateful to the Heurich family for giving a continuing base to the proud company which next fall will have its new home in our town's newest- oldest area, the southwest redevelopment section. A sprig of holly too, for our town's most elegant, exclusive theater, the Acadamia. Never heard of it? It's got 75 seats, was opened by President Truman and is at 1600 I Street NW., headquarters of the Motion Picture Asso- ciation of America, popularly the Eric Johnson office. Under Bob Crisp's tireless direction, this works morning, noon, afternoon, and night, for special groups which reflect, as no other audiences do, the infinite variety of American life. In its invited audiences you find children and Supreme Court Justices, club ladies, and the minute group which proves that in miniature the U.N. can work: the town's professional moviegoers-whose greatest pleasure and a shock to those exposed to them for the first time, is a good sharp fight-the Messrs. Car- mady O'Neill, MacArthur, Sullivan, Donnelly, and Coe, whose viewpoints con- verge only on the point that each of the others is crazy as a bedbug, loony as a bin, squirrelly-yet nice. Especially mornings. Particularly Christmas mornings. {From the Saturday Review, May 1961] THE CANADA COUNCIL (By Eric McLean) Not long ago a number of Canadian painters, musicians, and writers met in Toronto to discuss their problems under the rather grand title of the Canadian Conference of the Arts. Each paid his own way, but there are always organiza- tional expenses in such matters. In this case, they amounted to $10,000. The writers and others couldn't afford the expense, but somebody picked up the tab. During the summer months, visitors from the United States and many parts of Canada will converge on Stratford, Ontario, for its ninth annual Shakespearean festival. For a good many more in Canada, where distances are vast and the small population is scattered, Stratford is as remote as Tristan cIa Cunha. But during July a trainload of 150 high school students chosen by school boards in various locations will descend on Stratford for a few days of concentrated listen- ing and looking. Cost-$21,000. On the west coast, Vapcouver has been trying to crash the international fes- tival market since 1958, but while there has been bold talk of deficit financing, the costs of the project have been heavier than expected, and the response from the public, especially in the neighboring areas of Seattle and Portland, has been disappointing. Nevertheless, this summer the festival will present the first North American performances of Benjamin Britten's version of "A Midsummer Night's Dream." In every case it is the Canada Council that has extended a helping hand, not alone in encouragement, but also in cash underwriting. By comparison with the grants from foundations and funds in the United States, such sums (even the basic $35,000 for the Vancouver festival, plus a bonus of $10,000 for the Britten project) are small. What gives them importance, however, is this: the Council is the creation of the Canadian Government-which inclines some people to feel that it represents a sinister shift toward a socialistic Ministry of Culture. How- ever, even the stanchest Tories have come to realize that the existence of the country is dependent on Government subsidies of one sort and another-rail and air communications, radio, etc. Even more important, the existence of Canadians as individuals with a culture of their own may be just as dependent on the Council's mission. One of its main purposes is to explain the difference between a Canadian and an American, al- though it would never be described officially in that way. A large part of its time and efforts has been devoted to the search for a Canadian image, not in the spirit of an information service and not with the purpose of clarifying things for Americans or Europeans, but rather to help the Canadian understand himself a little better. PAGENO="0259" AID TO FINE ARTS 251 To have the Englishman comment on the insignificance of the things that make the Canadian different is small comfort to the Canadian nowadays. He isn't looking for a way to return to the British fold. Nor is he cheered by the American's assertion that the Canadian is his double. That sort of anonymity, in which individuality is related to a mountie or a bad joke about prohibition, is not enough. The Canadians are too rich now, and too much aware of an important future to accept such patronage. As Lester B. Pearson, leader of the Liberal Party, put it, we love the United States but we don't want to marry the brute. The problem was brought into focus shortly after World War II. It hadn't come to marriage yet, but the love affair was apparent even to the least per- ceptive. American magazines, American radio, American movies, and eventually American TV were flowing across the border. No one seemed to mind that they virtually eliminated competition from the smaller, less well-heeled Canadian ventures in these fields. The Canadian Broadcasting Corp. attempted to combat this influence by controlling the ratio of American and Canadian content on its programs, as well as the ratio of live to canned broadcasts. Its efforts were under constant fire from the Government opposition and from a large percentage of newspapers, which regarded such control as an invasion of private rights. The tide began to turn 12 years ago, when the Prime Minister of the then Liberal government, Louis St. Laurent, called for the appointment of a royal commission "to study national development in the arts, letters, and sciences." In one Uirection lay total absorption by the United States-a long, slow swallow that hardly anyone would notice and that even the victim would not resent. Or if "victim" presents a misleading image (because no blame attaches to America) let us say that Canada would simply smother itself on Columbia's ample breast. In the other direction lay Canaclianism. It would be a little synthetic for a while, perhaps; it would mean nurturing regional characteristics that might be considered outmoded in these less isolated times. But if it worked, the Canadians would be able to go back to loving Americans again. Out of the studies that followed, the 2 years spent in holding hearings across the country, reading documents solicited from organizations and individuals, emerged a 500-page document that came to be known as the Massey report (a tribute to the commission's head, the Right Honorable Vincent Massey, later to become Governor General of Canada). It was a bestseller among Government documents in 1951. The recommendation of the commission that attracted the widest attention read like this: "We therefore recommend that a body be created to be known as the Canada Council for the Encouragement of the Arts, Letters, Humanities, and Social Sciences, to stimulate and to help voluntary organizations within these fields, to foster Canada's cultural relations abroad, to perform the func- tion of a national commission for UNESCO, and to devise and administer a system of scholarships." No one has thought of a satisfactory explanation for the 6-year delay between the appearance of the report and the implementation of its most important recommendations. Part of it was due to the objection of Maurice Duplessis, Premier of the predominantly French-speaking (and Roman Catholic) Province of Quebec, to the university capital grants fund. He claimed, with some justice, that it would represent Federal interference in education, a purely provincial field and one that in Quebec is dominated by the Catholic School Commission. To date, no grant has been made from the fund to a Quebec institution. (The Ottawa Government was reluctant to oppose Duplessis, who had been put in power by the Province that contains approximately a third of the voting population of Canada.) The council was discussed thrOugh each session of Parliament, and in 1956 the Liberals managed to delay action for another 7 months with the excuse that qualified members for the council, who had already been selected, were too busy at the time to give theIr services. When the act creating the council was finally passed on March 28, 1957, the news reports gave first importance to the method of financing the council. Its funds came from the succession duties on the estates of two millionaires from the Maritime Provinces: Sir James Dunn, who died in his summer home at St. Andrews, New Brunswick, on January 1, 1956, leaving an estate of $70 million; and Isaac Walton Killam, who had died 5 months before at his fishing camp at Cascapedia Quel, leaving an estate of $100 million. PAGENO="0260" 252 AID TO FINE ARTS Duties on the two estates came to an even $100 million, which was im- mediately earmarked for the council. Ironically, the art~ and letters had not been among the favorite charities of either tycoon in his lifetime. The amount of money in the council's hands places it seventh in order of im- portance among the trusts and foundations of the United States and Canada. But even this comparison exaggerates the council's wealth. Only half is a per- manent fund. The other $50 million was earmarked as a university capital grants fund, to be given away-capital and interest-on a 10-year schedule to help Canadian universities in long-overdue building assistance. This means that by 1967 the Canada Council's total capital will be reduced to $50 million, unless it receives more in the meantime. The council is so consti- tuted that gifts may be sent to it tax free, a privilege few Canadians have exercised. They seem to take the attitude that, once the council was created, the finger was in the dike, the crisis averted. If the council corldn't cure what- ever was wrong with Canadian culture with its present funds, at least it had enough to produce a good definition of the trouble. Although the largest grants, at present, are being made from the university capital grants fund, the council activity that has attracted the most attention has been the assistance to artists, artistic organizations, and scholars, fields in which there are no fixed standards. The decision to support the work of a particular composer or painter must be made on much more subjective grounds than a grant of a' million dollars to a university for a new library or auditorium. The test relates to the search for an identity previously remarked. To this end, the council has disbursed something in the neighborhood of $4 million in fellowships to composers, painters, and writers, in direct gifts to artistic organizations, and in financing the transportation of audiences from small towns and rural communities into nearby population centers to give them an idea of what Canadians are doing in the way of expressing themselves. Such priming of the artistic pump is only one of several functions of the cowl- cii, and the one expending the smallest amount of their funds. Other respon- sibilities relate to allotment of scholarships in social sciences and the humanities, and the operation of the Oanadian National Commission for UNESCO. Among these, after administrative costs have been deducted from the endowment fund, 55 percent of the remainder goes to the arts. Grants from these funds, in the last budget, include such things as $206,500 to symphony orchestras; $7,400 to commission orchestral works; $162,500 to festivals; $85,000 to permanent thea- ter companies; $36,000 for touring theater companies; $145,000 for ballet; $72,000 for opera, and so on. In the minds of most people, benevolent foundations deal largely in fat, round sums, giving comfort to the student in Paris or sustenaiice to ti~e a~ci1~oiGgist in the Cyclades, sums with a ring to them-sums in six figures, or $10,000, certainly nothing less than $2,000. For this reason, it might surprise some to find listed in the Canada Council reports such entries as the following: $120 to Maria Pellegrini, of Ottawa, to enable her to go to Toronto for an audition; $50 to Dr. James Reaney, of Winni- peg, a travel grant to go to Toronto to assist in the production of his play "The Killdeer" (this would take Dr. Reaney only halfway, and he would have to pay the rest himself); $300 to Mrs. Dorothy MacPherson, a travel grant to par- ticipate at the fifth annual Robert Flaherty film seminar at the University of California. These small sums must not be taken as an indication that the council's eye is on the sparrow. It means, rather, that it is slicing carefully a very small budget for a very big job. When you consider the handful of Canadian people rattling around in the third largest country in the world (larger than the con- tinental United States but with only about a tenth of the population) it is diffi- cult to talk about culture. If the population of Canada were spread evenly over its territory (momentarily ignoring the fact that many of them would have to be amphibious), they would not be within sight of each other, let alone talking or spitting distance. The actual distribution is a little different, though almost as curious. Seventy percent of Canadians live within 100 miles of the U.S. border, almost as though this strip of towns and cities were snuggling up to an imaginary wall for warmth. The council's job might be described as trying to persuade the Canadians that south is not the only direction in which to face, or that they have been left "outside." An important aspect of the problem was well defined in a recent article by one of its officers: "While contemporary creative activity abroad is PAGENO="0261" AID TO FINE ARTS 253 the product of centuries of interchange between artist and audience, here the council is being charged with the difficult task of helping to bring forth the chicken and the egg simultaneously. Finding and encouraging creative artists is not enough. To insure the final independence and even survival of these art- ists, an important part of the council's function must be to help enlarge the demand for their talents." In other words, creating an audience. After 4 years' experience, this aspect of the problem has earned more and more of the council's attention. Creation and re-creation is very well, but getting the audience and the performers together is of crucial importance. To this end, the Canadian Players (a company employing many of the Stratford actors during the winter months) were spon- sored by the council on a tour of 60 towns from coast to coast last year. At the same time, 6,000 high school students were shipped from rural districts into the towns on the company's itinerary. Subsidies for a theater troup rarely amount to mare than a fraction of their touring costs. The council pares down its assistance to the crucial point where the company would decide to give up the tour, then adds a smidgin more. Two years ago the Canadian Opera Company, operating out of Toronto, gave a 2-week season with three works (including Prokoflev's "Love for Three Oranges"), then went on a cross-country tour of 40 performances. The result- ing deficit of $137,000 was met by private donations of $77,000, and a $60,000 grant from the council. There have been critics of the council, but most of them have objected to the way in which assistance is meted out rather than to the principle of assistance itself. Some feel that the system of piecemeal grants is pernicious. Others have contended that if the arts were realy respected, they would be supported by a Ministry of Culture with a large budget. Probably the most common criticism of all is that a council is a long-haired outfit, somewhere up~ on cloud 9, and that it should take steps to get in touch with the common man, or consult the average taxpayer on how this money should be spent in the cultural fields. To paraphrase the council's attitude, the council has been charged with the job of making the common man less common, and they have no intention of consulting him on methods. The council has only six salaried officers, none of them identified with politi- cal parties: a director, Dr. A. W. Trueman; an associate director, Eugene Bussiere; a treasurer, Douglas Fullerton; a supervisor of the arts program, Peter M. Dwyer; a supervisor of the scholarship program, Henri Charbonneau; and a secretary, Lillian Breen. The chairman, Dr. Claude T. Bissell, replied recently to charges against the 19-member touncil (voluntary and noncom- pensated) by pointing out that at present it relies on informed groups and individ- uals for its decision, with applications for grants from the endowment fund sifted by, for the arts, 150 adjudicators. He admitted that information is often marked by "cults, petty jealousies, and prejudices. But the alternative is to shift our sources of advice to those people who, to coin a phrase, know nothing about art but know what they like. Ultimately this is to substitute the most terrible of all tyrannies: the tyranny of the uninformed." Russia, observes Dr.Bissell, had tried this pseudodemocratic method of pro- moting culture, and the result was "picture postcard painting and propaganda fiction. You will notice that the U.S.S.R. has not adopted the same method in the sciences. That is why its conquest of outer space is more significant than its conquest of inner space." No one has attempted to assess the result of the Canada Council's work. Four years is hardly time enough to allow such a "first growth" to bear ripe fruit. But the council itself is sure enough of its importance to the country and of the direction in which it is going to ask the Government for another $10 million to help it along. PAGENO="0262" PAGENO="0263" SUBSIDY MAKES SENSE A description of the present plight of music and the musicians in the United States and a look at Fed- eral Subsidy as a means of improving the situation. B~ Hope Stoddard Associate Editor International ktusiczan The American Federation of Musicians, in its campaign for Federal subsidy of music, has published a series of articles in its journal, "International Musician," explaining the need for speedy action in this matter. These articles are herewith reprinted, together with a final chapter on industry's aid to music, in itself a form of subsidy. 255 PAGENO="0264" 256 AID TO FINE ARTS Foreword SUBSIDY - The very word sends shIvers up the spine. it is Socialism! It is THE END!! But wait. Is Franco's Spain, with its subsidies of the arts, socialistic? Was Peron's Argentina - one of the most heavily subsidized of states - socialistic? Subsidy - government aid to certain enterprises - has long been a normal, accepted practice in the United States. Anyone who receives a letter by post, drives a car along a public high- way, sends his child to school, or calls the fire department when his house is on fire, is making use of subsidy. Government aid to the arts is already part of our system - witness ANTA tours and our artists-exchange agreements. But we are far behind other civilized nations in our skill in using this means toward developing our cultural life. It is for us to widen the scope of subsidy, bring it to practical application, save musicians and music, before it is too late. PAGENO="0265" AID TO FINE ARTS 257 Let's get it straight first of all what government subsidy of music means. First, though, let's look at what it does not mean. It does not mean the government "taking over" sym- phony orchestras and chamber music ensembles and bands from Maine to California. It does not mean having a gov- ernment functionary designate what programs symphony orchestras are to present throughout the country. It does not mean that conductor so-and-so will stand with baton poised waiting for orders from Washington to start his concert. What it does mean is that orchestras and bands and chamber music ensembles and opera companies will go on giving their concerts, staging their performances, much as they have done before. Tickets will be sold at the ticket offices, and managements will pray for sellouts as they have always done. Annual fund-raising campaigns will be held. Citizens and corporations will be solicited by ladies' auxili- aries and societies of "friends of music," while the giant fund- registering thermometer at Market and Main streets rises sluggishly toward its goal. Boards of Directors will sit around their tables and plot the next season's activities, with money and the muses holding about even places in the deliberations. Orchestras will have the same struggles and the same triumphs. Yet there will be a difference, apparent to every music lover in the United States. Orchestras will get out of the red and maintain normal financing, not by bleeding the orchestra members themselves-lowering salaries of musi- cians, curtailing paid rehearsal periods (and lengthening un- paid ones), shortening seasons - but by getting just that emergency lift that subsidies, federal, state, and municipal, can supply. Let us look at the picture of our orchestras today, sans subsidy. Aside from about eight of our major symphony orchestras which are subsidized-excuse me, sponsored-by foundations, by corporations and by philanthropists-there are hundreds eking out a precarious existence by ticket sales, by occasional handouts of private individuals and-as the most usual source of financing-by the musicians themselves. We boast in innumerable magazine articles, campaign speeches and publicity brochures of-what is it, 2,600 orches- tras in our land? Yet most of these exist only because of the free services, free time, free performances of their members. Free to the public, that is, but costly to the musicians. Our orchestras, by and large, are subsidized down to the last fiddler by the musicians themselves, who pay in hours taken PAGENO="0266" 258 AID TO FINE ARTS from their own private study and from their recreation time; in money saved from workaday jobs; in service culled from their infinite patience and goodwill. What federal subsidies would amount to is that fewer orchestras would be victim- izing their own musicians in their struggle for survival. And the composers? One and all, composers complain that they have no chance to be heard. Orchestras, even the best, curtail their premieres to one or two a year. Just too expensive in rehearsal time and in rental price, and, with the whole weight of the orchestra dependent on the audience's immediate approval, also too risky. But music representative of any country should be music including the best of recent output rehearsed to the point of highest perfection. The concert hail should be the place of inspiring performance and challenging experiments. It should be freed from the necessity of making ends meet, in the sense of a business project or a manufactured gadget- altering the product to suit the whims of the customer, de- veloping gimmicks if the thing itself does not sell, booming up trade under false pretenses. Most music lovers are convinced of this fact. But what would determine the United States govern- ment to institute a system of subsidies of music? Obviously it must come to the conclusion that music is a good thing for the nation. ("Subsidy-a government grant to assist a private enterprise deemed advantageous to the public"- Webster's Collegiate Dictionary.) Obviously, too, it must decide that the projects aided must be projects which private enterprise and local govern- ments cannot handle adequately themselves, projects which, if left to the vagaries of private enterprise, would be gravely hampered or actually destroyed. Our government came to this conclusion about United States shipping in 185o, about agriculture in 1862, about edu- cation even before this. Today we should be quite used both to the word "subsidy" and the process, what with free libra- ries, free highways for motorists and free schools for our chil- dren. About this latter: we have a completely government- subsidized educational system, with the choice, of course, kept open for children to be sent to private or parochial schools. Naturally, there is some talk that the government sometimes exercises an undue amount of control-now sug- gests a scientific-weighted curriculum, now exerts undue PAGENO="0267" AID TO FINE ARTS 259 pressure on the opinions of teachers. But citizens never for a moment consider abolishing public education because of such strictures. Instead they put pressure on the government to keep hands off when it shows signs of tampering. Music, like education, is a thing of national concern. We don't have to be told that Van Cliburn's achievements abroad-which incidentally cost American people nothing -have brought more prestige to America than all our space rockets put together. Nor that the New York Philharmonic playing at the Berlin Festival on September 22 and 23, 1960, was of such propaganda value as to warrant the hard-headed Ford Motor Company paying $150,000 to fly the io6 musi- cians over specially. What helps Americans abroad would, it is plain, help her to a like extent at home. Yet we are con- tent to leave the nurture of this great cultural held to occa- sional philanthropists, whimsical in their favors and all too mortal in their life-spans, and to the loyal but much-put-upon "friends of music" working overtime to edge the indicators of those campaign thermometers to the top. To depend on such spasmodic giving in the field of music, which of all professions needs continuity and consistency of support, is to court defeat. For it is clear that, to become professional, musical art- ists of symphonic calibre require longer growth and steadier nourishment than even the professions of doctors, lawyers and scientists. Nor are symphony orchestras organizations mushrooming overnight either. These need years and years of quiet and careful adjustments, years and years of accus- toming players to each other, to their repertoires, to their conductors. Under the circumstances, it is errant nonsense to say a government assist to our musical enterprises would hamper them or circumscribe them in their aims. The recipients of grants from foundations and private philanthropies are decided on by the grantees and individuals according to principles evolved in their own private con- claves. No public pressure can be brought to bear on these organizations in making their decisions or in changing them after they are made. With government sponsorship, on the other hand, citizens would at least be able to insist on publi- cation of the decisions and the reasons which brought them about. Public-minded individuals could set up a hue and cry if the government began overstepping its authority. In a word, government subsidy could be made subject to realign- PAGENO="0268" 260 AID TO FINE ARTS ment and reallocations. But there it would none the less be, to be defended and fought for. To fritter away time in pros and cons re subsidy, while young musicians shelve their instruments and our symphonic and operatic organizations struggle along on next to noth- ing, is little short of criminal. Rudolph Bing, Director of the Metropolitan Opera Company, summed up the situation exactly when he said, "What we need and need badly, is a Marshall Plan for the Metropolitan." In saying that young graduates from our best conserva- tories have today insuperable obstacles to face is not citing exceptional cases. If you are interrupted someday by a door- bell ringing, when you are reading an article in one of the soft-soaping journals, boasting that we are a country "de- voted to a furtherance of music in a degree unmatched in any other country at any time in the world," and, opening the door, are appealed to frantically by some nervous young man trying to sell a new type dishwasher, don't slam the door in his face. He may well be the same young man you spotted at the recent commencement exercises of your town's conservatory, then looking confident and alight with en- thusiasm, but now spewed out into a world which believes automobiles and fur coats must be purchased but music is to be had for free. The only solution is an immediate right-about-face, one which will make us recognize that music and the musician, as entities "advantageous to the public," must be given stable financial backing, and that the government must do its part in bringing this about. PAGENO="0269" AID TO FINE ARTS 261 STATE SUPPORT OF MUSIC an old tradition in europe Subsidy of music is no new thing in Europe. Italy was pouring money into opera when the tower of Pisa took on its famous slant in the fourteenth century. France's Opéra, along with the Louvre, has been that country's pampered pet since long before world wars were even thought of. Sweden's Stockholm Opera came into being in 1773 through the royal decree of King Gustav III, who himself wrote some of the operas' texts. Frederick the Great gave Berlin its first opera house in 1740. October 18, 1746, he issued the order: "Having received many complaints of the decline of the art of singing, and the neglect of it in our gymnasiums and schools, His Majesty commands that the young people in all public schools and gymnasiums shall be exercised more dili~ gently therein, and to that end shall have singing lessons three times a week." Still today opera seems to be the favored goal for subsi~ dies in Europe. Practically every city in Germany has an opera company complete with orchestra and staff, not to speak of a fine building to house it and full equipment to facilitate it-all stabilized through grants from the federal, state and local governments. These "Staatsoper" service the entire region, with performances held in many cases nightly eleven months of the year. Though federal and state gov~ ernments help subsidize such companies, the running policy is usually decided at the municipal level. Just now East and West Berlin authorities are competing fiercely for operatic prestige, each placing lavish resources at the disposal of the home company-the sort of cold war that even pacifists can revel in. PAGENO="0270" 262 AID TO FINE ARTS In France the Opéra and the Opéra Comique receive from the federal government (which holds the price cheap considering the returns) the equivalent of four million do!- lars annually. This amount, set by parliament, is renewed each year almost without debate. A special subsidy for pre- mieres of contemporary operas goes to a recently established opera company, La Decentralisation Lyric, which tours as well as gives opera in the home town. Austria pays off the annual deficits of the three "stages" of the Vienna State Opera: the Staatsoper, the Vol ksoper and the Redoutensaal. The Danish government meets the annual deficits of the Royal Theatre, including its ballet and opera. Three Swedish opera companies (in Stockholm, Goteborg and Malmo) receive annual grants from the State. This money, together with that given to the provincial orchestras and smaller provincial theatres in Halsingborg, Norrkoping, Uppsala and Boras, is collected mainly from government- sponsored lotteries. The government of Greece covers the annual deficits of the National Opera of Athens. The Portu- guese government subsidizes its opera, as do the govern- ments of Belgium, Holland, Turkey and others. Opera subsidy has been a comparatively late arrival in the Netherlands. In 1945 the Dutch authorities (state, mu- nicipal) decided to lend their financial support to an opera company which was based in Amsterdam and called the Nederlandse Opera. Today the company performs on an average of twenty-two different operas a year with 190 per- formances. In Great Britain, the government through its Arts Coun- cil gives the equivalent of a million dollars annually toward the support of the opera at Covent Garden, the Royal Ballet at Sadler's Wells, the Old Vic Theatre and the Carl Rosa Opera. In 1957-58 the British Parliament voted these three organizations, all in London, $1,500,000 at the current rate of exchange. In Italy, probably the most opera-minded country in Europe, subsidized opera houses are as thick as canals in Venice and as enthusiastically patronized. La Scala of Milan is the nation's pride, and, of course, supported accordingly; but even small towns have subsidized opera. These are also happy to stand host to opera companies originating from out- side. Spoleto, for instance, gives its whole heart and money realized through sacrifices in other directions to a festival organized largely from the United States. And everyone has heard of the astonishing gesture of the Italian government PAGENO="0271" AID TO FINE ARTS 263 in 1958 of granting a subsidy of $i6,ooo to Chicago's Lyric Opera Company-a company, incidentally, which our own government had left strictly to its own resources. The USSR boasts thirty opera companies, but these do not come under our present discussion. Subsidy, by diction- ary definition, is "a government grant to a private enter- prise." In Russia, government subsidy has been replaced by government ownership, and that is a horse of an entirely different color. * Symphony orchestras in Europe get under the wire of subsidy in many cases through their alliance with opera. The Vienna Philharmonic, for instance, benefits from the subsidy to the Vienna State Opera, since it functions as house orches- tra to the opera. Many countries, however, support symphony orchestras for their own sake. The Greek government covers the defi- cits of the State Orchestra of Athens. In Belgium the prin- cipal symphony orchestras receive both municipal and state subsidies. The municipal orchestras in Denmark are subsi- dized from 20 per cent to near total from municipal-national sources. The Stockholm Philharmonic has the Swedish State as one of its sponsors. The Portuguese government subsidizes symphony orchestras in both Lisbon and Porto, and bolstered up the latter orchestra when it was in danger of disbanding in 1956. Ireland's government extended grants to the Limer- ick Symphony Concerts Society and the Cork Orchestral Society for the 1960-61 season. The salaries of the instru- mentalists of the Presidential Philharmonic of Ankara are provided by the State. In Norway grants from the State help the Oslo Philhar- monic Society to the extent of 200,000 kroner. Other sources of its support are: 330,000 kroner from the municipal authori- ties; 88o,ooo from the Norwegian Broadcasting Corporation; i5o,ooo from the sale of tickets, and the remainder from be- quests and other sources of income. In contrast to its largesse in supporting opera, France seems a bit close-handed in respect to symphony orchestras. In Paris, four privately-run orchestras are supplied with small governmental subsidies in return for playing a number of first performances. Radio France pays one of these orches- tras to broadcast a concert each Sunday. Great Britain dispenses 20,000 pounds annually to the Liverpool Symphony, 20,000 to the Bournemouth Symphony, 17,000 to the Birmingham Symphony and 12,000 to the Lon- PAGENO="0272" 264 AID TO FINE ARTS don Philharmonia. It allocates 35,000 pounds for music in Scotland, 25,000 of which goes to the Scottish National Or- chestra. The Netherlands shows up particularly well in its sym- phony orchestra subsidies. The federal government divides the equivalent of about $1,000,000 yearly among its thirteen orchestras, including the famous Concertgebouw of Amster- dam. Municipalities are also generous in their support. As early as 1911 the Mayor of Amsterdam proposed granting a subsidy to the Concertgebouw Orchestra and the City Coun- cil accepted the proposal unanimously. Other cities shortly followed suit. Today all municipal authorities support in one way or another, either regularly or at intervals, musical life at the local level. Not a country but realizes that by investing in its youth it invests in its own future. Thus in Belgium and in Ireland a number of promising young composers are given grants or scholarships which enable them to spend a year or more in study in foreign cities. Belgium's bi-annual Prix de Rome for musical composition gives the recipient the equivalent of $1,200. One of the conditions of the contest is that such recipient must pursue his musical studies abroad. Belgium's Prix de Virtuosite opens performance doors to the winner. The Netherlands offers awards and commissions for com- posers, and facilitates recitals of gifted artists. Another means of serving youth is the grant to conserva- tories. The Greek government subsidizes all its conserva- tories, the Portuguese government, its principal ones-i.e., those in Lisbon and Porto. Great Britain gives 15,000 pounds annually to the Royal Ballet School. The Netherlands gives 1,629,300 guilder (approximately $349,911) annually to music education, including payment of personnel of the Royal Con- servatory of Music at The Hague and grants to prospective music teachers. Austrian schillings to the amount of $23,000 are disbursed to students at the two federal music academies (the Vienna Academy of Music and Dramatic Art and the Academy of Music and Dramatic Art Mozarteum in Salz- burg). A number of distinguished older musicians and com- posers receive E/Irengcthen in the form of monthly rent pay- ments. It is natural that much governmental largesse should be aimed at gaining prestige abroad. (Our government-spon- sored ANTA tours are a case in point.) In Belgium, the Queen Elisabeth International Musical Competition which PAGENO="0273" AID TO FINE ARTS 265 carries prizes to the amount of approximately $12,000, has brought acclaim to that country, since it is open to artists in every part of the world. An interesting item in the expense accounts of several countries is the allotments for the copying of scores. The Federal Government of Germany distributes to foreign critics collections of scores and recordings of contemporary works. The Irish government finances a Music Copying Scheme, through which the compositions of contemporary Irish com- posers are made known to foreign organizations. The Neth- erlands provides subsidies to the "National Society for Pro- motion of Music" and "Documentation of Netherlands Music." Subsidy of music, as often as not, swims in over the air waves. Government-owned radio and television stations often become sponsors of musical organizations. The Aus- tralian Broadcasting Commission, established by the Federal Government in 1932, relays nation-wide programs from the capital cities. Since its Broadcasting Company was from the start specifically charged with catering to and developing the best cultural tastes of the public, it was found necessary to hire good studio orchestras. These, in turn, became the nu- cleus of larger units giving public recitals. Under the Federal Broadcasting Act, the ABC may give outside performances only if part of the program is broadcast. The presenting of these public concerts enables the ABC to recover, from box- office returns, some of the large costs involved in maintain- ing the orchestras. The revenue also makes it possible to bring a number of international celebrities to Australia each season. Today every State capital in Australia has its own full-time orchestra, all with resident conductors, all virtually under the control of the ABC. In `954-55 the Australian Broadcasting Commission was responsible for 718 concerts throughout the Commonwealth. Of this number 152 were given in country districts, 152 were free school matinees, sixty-three, youth concerfs, and thir- teen, open-air concerts. These Australian broadcasting orchestras lead to still an- other form of subsidy. From time to time the ABC offers scholarships to promising students in the woodwind and horn sections, enabling them to complete their studies under professional teachers with the prospect of entering symphony orchestras later. 70259 O-61---18 PAGENO="0274" 266 AID TO FINE ARTS In Paris, three radio orchestras are maintained through national subsidy: Radio National; Orchestra Philharmon- ique; and Radio Lyrique, the latter for stage works. There is a radio orchestra in the larger provincial cities. In Mar- seilles and in some other cities this radio orchestra doubles as a municipal orchestra, has practically the same personnel, though the conductors may be different. The British Broadcasting Company is financed by direct parliamentary grant through the Post Office Department. In 1959 six million pounds were spent for music and the spoken word on the BBC. The Danish State Radio, a national cooperative, is also heavily subsidized. How is the matter of allocation of subsidies decided? The methods differ as widely as the goals. The fund set aside for the field of music in Austria is administered by the Austrian Ministry of Education, with the whole weight of decision in its hands. In Holland, the Ministry of Education, Arts and Sciences controls the budget. Great Britain has an Arts Council, a body of distinguished private citizens with a knowledge of and appreciation of the arts. They determine largely which individuals and which projects are to receive support. Here, then, in outline, is a picture of music subsidy as it exists in countries overseas. It is to be noted that musical organizations favored differ among the countries, and that the methods of administering the funds also vary. Main thing is that the matter be kept in the hands of responsible men and women who have both a thorough knowledge of musical activities in their respective countries and a recog- nition of the importance of musical developments within their borders. CANADA We have given a separate place to music subsidy in Canada since it is a system especially workable along the lines of the policies of the United States. It might well be examined as a possible pattern for this country. Canada subsidizes orchestras, opera companies, chamber groups, solo artists, music students and composers. The Canada Council was appointed in 1957 to adminis- ter the funds. It was given a good start. As a result of a windfall of large death duties paid by the estates of two Canadian millionaires, the government was presented with PAGENO="0275" AID TO FINE ARTS 267 $ioo,ooo,ooo, which it divided into two $~o,ooo,ooo funds. One fund was to be used through a period of about ten years in capital grants to universities for new buildings where the arts, humanities and social sciences were, to be taught. The other fund-the one which closely concerns us here-was made a source of permanent benefit by being used only as it accumulated interest. It thus realizes $2.8 million in inter- est annually, of which the Council earmarks $1.25 million for aid to the arts. Of this money a large part is used to aid musical projects and individuals. The Council determines which musical projects and which individuals are to receive grants and scholarships by on-the-spot observations by authorities and experts across the country. The Council creates a healthful state in the communi- ties it assists by requiring that the organizations receiving aid show evidence of continued local backing. Also, in order that a check-up may be obtained regarding the use of funds, grants are normally made for a period of one year only. Financial statements from all organizations are required at the end of the season to show that the Council money has been used for the purpose for which it was allotted. Among its many grants, the Canada Council gives $200,000 annually for the support of symphony orchestras. In 1959 ten Canadian orchestras-the Toronto, Montreal, Vancouver, Winnipeg, Ottawa, Halifax, Calgary, Edmon- ton, Quebec and Victoria - each received grants ranging from $12,000 to $30,000. The orchestras which have been assisted are either fully professional or have a professional nucleus which audience support may make it possible to enlarge. The Council stimu- lates growth by providing for projects which in themselves are audience-widening. For instance, it allots money for tours. It also has made trial grants to enable small groups of players to provide summer concerts in seven cities having no summer music: Ottawa, Edmonton, Calgary, Winnipeg, Victoria, Quebec and Halifax. Grants of the Canada Council also go for extra rehearsal time, for children's concerts and for commissions to com- posers, offered by the orchestras themselves. For instance, a few years ago grants of $i,ooo each were made to five of Canada's large orchestras-Montreal, Ottawa, Toronto, Win- nipeg and Vancouver-to enable them to commission new pieces of music written especially for them by composers of their own choosing. PAGENO="0276" 268 AID TO FINE ARTS That these multiple benefits result in the improvement of the orchestras is evident. In three years of the Council's operation, attendance at these orchestras' concerts almost doubled. Opera and chamber groups have been similarly assisted. Another form of grant is to the individual. Scholarships are offered to permit composers or performing artists to pur- sue a definite course of study in this country or abroad, for a period of one year or less. Grants are made to individuals for specified projects such as representation at international festivals, competitions or other special occasions. A Canadian Music Centre has been established in Toronto, its primary object to collect, catalogue and make available for performance the works of Canadian composers. In the case of major works, it is hoped to have not only com- plete scores but also recordings, so that a conductor in, say, Vancouver, may hear the work as well as read the score. The Council does not in any way interfere with the artistic policies of the organizations to which it gives assist- ance. It acts instead as an impartial body whose job it is to balance opposing (regional) interests and reconcile the con- flicting demands of experts. PAGENO="0277" AID TO FINE ARTS 269 In practically all of the civilized nations of the world, the United States ex- cepted, symphony orchestras and opera companies are given government support, and this is a tradition of hun- dreds of years standing. If the United States has no such direct subsidy of music, it does engage in indirect sub- sidy. That is, through fi- nancing tours of musical or- ganizations and individuals abroad, it helps to pay for the upkeep of such organizations and individuals. These facts, promising as they are in themselves, have so far had little effect on the policy of the United States within its borders. It is time we began to think about what we as a people should do for musicians here at home, those citi- zens who, like other citizens-plumbers and auto mechanics, teachers and preachers, doctors and lawyers-cue up at cafe- terias, ride buses, dig out of snowstorms and put their chil- ~AI~1ERICAH S PAGENO="0278" 270 AID TO FINE ARTS dren through school, but who, unlike most other citizens, are distinguishable not only by the instruments they carry but also by the lines on their foreheads and the harried look in their eyes. It is the aim of every government to be acutely conscious of the groups making up its population, to be fully aware of the functions of each and their contributions to the gen- eral good, and to produce and sustain employment in so far as is possible. Not a government but helps those groups which it believes further the nation's goals. Our government, for instance, holds farmers to be espe- cially worth looking after. Between 1951 and 1960 annual farm subsidies rose from $905,000,000 to $3,568,000,000. An- other group the government helps prodigiously is business- men. The $525,000,000 deficit in handling business mail sus- tained by the post office in fiscal 1960 was made up by the government in its aid-to-business program. Other groups coming in for government aid are those engaged in air navi- gation and in maritime navigation-the air transportation industry to the extent of $228,000,000 last year and the water transportation, to the extent of $i6~,ooo,ooo. War veterans and victims of sudden disasters-hurricanes, earthquakes, floods-receive special grants. Why are these groups singled out for largesse? Because the life-blood of the nation must be kept circulating health- ily-crops growing in its fields, goods transported coast to coast and abroad, business running on oiled wheels-no group a drag on the others. It is a curious paradox that our government, so sensibly- minded in matters of growing corn, disposing of farm sur- pluses, distributing low-priced lunches to school children, improving roads, sidewalks and postal service, and dispatch- ing speedy aid to hurricane sufferers, should remain blind to that group which gives cultural significance to the nation. For it is obvious that a nation whose citizens are not kept in iiving association with the best in music is not in a healthy state. Public concerts of the hundreds of amateur orchestras from coast to coast do not give such contact. For these do not come under the head of good music profession- ally performed. How can they, played as they are by organi- zations whose members support themselves precariously by doing unsuitable work during much of the year, in order to keep themselves available for a three-month orchestra season? Nor do the dozen or so major symphony orchestras located PAGENO="0279" AID TO FINE ARTS. 271 in key cities suffice to uphold the musicality of the nation. On such fare musicians as a nation-wide group cannot thrive; citizens cannot be roused to proper pride in their musical organizations; a sense of musical life cannot be sustained. The trend, moreover, is downward. More and more or- chestras are switching to evening rehearsals, since the players must hold daytime jobs outside of the music field; more and more of our young singers are flocking abroad for experi- ence and job security. According to recent trade reports, 350 American singers are now employed full season in Central European opera houses, and their numbers are increasing. This represents a curious paradox. For the United States government has shown again and again that it is aware of the persuasive powers of music and the responsibilities of a country to stimulate music m~tking. The Voice of America continually beams musical programs overseas (with no pay- ment to musicians responsible for it, however). Musical scores, sheet music and recordings of American music are made available at one hundred and seventy United States information centers abroad. A sum of about $2,000,000 iS appropriated each year for the President's Special Interna- tional Cultural Exchange Program. Annual Congressional appropriations allow for sending abroad specialists in music, among them, during recent years, Thor Johnson, Virgil Thomson, Allen Hughes, Howard Mitchell, Paul Creston, Jesus Maria Sanrom~, Malcolm Frager and Seymour Bern- stein~ American dollars have helped restore a number of old European opera houses and music halls which had been dam- aged by bombings in World War II. At the time we were allotting half a billion dollars of military aid to Turkey, that country established annual appropriations of $35o,ooo for the Turkish Philharmonic, $750,000 for operas performed, and approximately $3,300,000 to build an opera house in IstanbuL The inconsistency of this generosity abroad compared with our niggardliness at home was pointed out in a letter to The New York Times by George Szell, Conductor of the Cleveland Orchestra. Commenting on an article stating that "With the financial assistance of the United States, Germany is reconstructing the Berlin Philharmonic Building," he comments, "Surely if the money of the United States taxpay- ers is being used to rebuild the home of the Berlin Philhar- monic Orchestra, there.cannot be any valid argument against this kind of money being used to help and support our own organizations." PAGENO="0280" 272 AID TO FINE ARTS There are evidences that the United States government is becoming aware of its own inconsistencies. It is beginning to realize that musicians who are fanfared abroad also de- serve to be cared for at home. The WPA initiating a Fed- eral Music Project in 1935 was the first faint sign of this, even though this project was instituted as an emergency measure, tiding over musicians together with other segments of the jobless for the sake of the nation's economy. In 1951 came the first real murmurings of concern for musicians for their own sake, with the passage of a bill allow- ing tax relief to non-profit symphony orchestras and opera companies. Then, in 1956, legislation was passed granting a Congressional Charter to the National Music Council, which was at the time an organization of forty-five nationally active musical associations that had a combined individual mem- bership of some 8oo,ooo. It had been founded in 1940 for the following purposes: to provide a forum for the free dis- cussion of problems affecting the musical life of the country; to speak with one voice for music; to provide for the inter- change of information between the member organizations, and to encourage coordination of effort among these organi- zations; to organize surveys of fact-finding commissions whenever deemed necessary; to encourage the advancement and appreciation of the art of music; and to foster the high- est ethical standards in the musical professions and indus- tries. There are now fifty-three member organizations (of which the A. F. of M. is one), which have a total individual membership of over I,228,ooo. General meetings are held twice annually, and the Council's Executive Committee meets six times a year. The Council is the only national musical organization to hold a Congressional Charter. Then, on September 2, 1958, Congress authorized the National Cultural Center and set aside nine acres along the Potomac for its construction. The law directed President Eisenhower to appoint a Board of thirty Trustees and an Advisory Committee on the Arts. The American Federation of Musicians' President Kenin, one of the members of this board, stated, on receiving the appointment, "I welcome this opportunity to aid in building a national home for the Amer- ican living arts, and commend the President and the Con- gress for taking this long-needed action. The United States has been the only major country in the world which does not recognize and support its native arts and artists in any organized degree. There is much to be done in this field, PAGENO="0281" AID TO FINE ARTS 273 and I believe we must work overtime to correct the previous indifference toward one of America's greatest resources, namely, its musicians, artists, writers, actors, dancers and poets. By helping them we also help our symphonies, thea- ters, universities and cultural foundations." It may be sensibly argued that a mere building or group of buildings in Washington, even if dedicated to the arts, can do but little to spark the idea of general subsidy, espe- cially since the Federal government takes a part in the proj- ect only by making the ground available, while the money for the construction of the facilities must be raised by volun- tary contributions. Still, this act brings with it a new concept of the nation's. capital as a patron, defender and stimulator of the Perform- ing Arts. It implies recognition of music and musicians as a significant aspect of our society. It is a beginning. PAGENO="0282" 274 AID TO FINE ARTS The Outlook for Subsidy of Music We realize that fine music performance is ex- pensive, that it requires a concert hail with good acoustics and with a large staff to keep it going, in- struments to play, players well-fed, well-housed, and, since they are human, well-respected. And we realize that these last, what with the long years of study they must undergo and the hours daily they must spend to keep in practice, are the most expensive items of all. We realize that music, unlike plumbing, well-kept lawns and roofing, requires more than installation like an electric refrigerator or pruning like a hedge. It is a community affair. Expensive and communal as it is, who then pays for music? PAGENO="0283" AID TO FINE ARTS 275 We have found that in towns from California to Maine, from Florida to Montana, this is being decided in about as many ways as there are communities to decide. The wealthy sponsor, the pooled resources, industry's contributions, ticket sales-these have all been resorted to in varying blends. But, because of the haphazard and sporadic quality of such means, orchestras, we have found, have fallen into some sorry prac- tices: conductors chosen as much for their way with words as for their skill with batons; musicians become adept at living incognito as insurance agents, clerks and office work- ers; and music lovers resigning themselves to waiting for the millenium when music, instead of being a hanger-on "on the town," will be cherished and supported as its true love. Lately, we have had reason to hope that the millenium might be within sighting distance. Newspaper readers have been getting used to seeing that word, "subsidy," in head- lines, in business reports and in editorials. In February, 1961, periodicals from coast to coast carried the news that Repre- sentative Frank Thompson, Jr., of New Jersey, and Senator Jacob K. Javits of New York State had introduced a bill calling for the establishment of. a United States Department of the Arts. At about the same time word got around that Representative Carroll D. Kearns of Pennsylvania had intro- duced legislation to provide Federal aid for the fine arts through allocations to be administered by the various States. Among the bill's aims are: assistance to the States in mak- ing inventories of already existing musical organizations; help in establishing new ones, including symphony orches- tras; aid toward the construction of cultural centers; and encouragement of educational institutions in the develop- ment of their musical programs. Federal support of the Arts was debated on the NBC-TV network on February ii, 1961, before a nation-wide audience. J. Kenneth Gaibraith, special consultant to President John F. Kennedy and Fellow of the American Academy of Arts and Sciences, who took the affirmative in the debate, scattered a few hopeful hints that President Kennedy's administration may do something for the Arts. On March 3, 1961, The New York Times headlined on its front page, "Cultural Subsidy Is Asked of (New York) State-$400,000 Urged in Aid for Areas Lacking Art." Though this was a state rather than a national effort, still the essentials were there for all to see. "The State Council on the Arts," the article read, "urged today (March 2) that PAGENO="0284" 276 AID TO FINE ARTS the state underwrite a share of the cost of presenting theatre, ballet, classical music and art to the public in areas lacking such activities." Here are three of the seven projects outlined by the New York State Council (formed in 196o in an exploratory ca- pacity): "A three-week state tour of a leading opera company, with the state guaranteeing to cover losses up to $7o,ooo. "A three-week state tour by a leading non-profit ballet company, with a repertory including at least one new work. The state would be prepared to meet up to $65,ooo in losses from the ballet tour. In addition, $5,000 was asked to in- crease the dance program at the Empire State Summer Arts Festival. "Extended tours in the state by leading symphony or- chestras, with the state guaranteeing a total of $i io,ooo." As of February I, 1961, an appropriation of $450,000 has been made available to the Council so that it might carry forward its program: $7o,ooo has been earmarked for opera and $i io,ooo for orchestra. State subsidy of music in the United States is no new thing. Twenty-three states have enabling legislation for band and orchestra support. North Carolina, Vermont, Massachu- setts, Rhode Island and Kentucky are states which have long allocated funds for orchestral enterprise. Among cities pro- viding for such activity in one way or another are Philadel~ phia, Chicago, Cincinnati, Los Angeles, St. Louis, Indian- apolis, Salt Lake City, New Orleans, Houston, Baltimore, Atlanta, Birmingham, Buffalo, San Francisco, Detroit and Denver. This not only shows which way the wind is blowing but also shows that the American people believe in subsidy for music. Moreover, there are evidences that they make expert use of it when they do get it. Detroit earmarks $25,ooo.oo in the music budget for the purchase of tickets to sixteen concerts for school children. The City of Chicago allocates a budget of approximately $135,ooo.oo for Grant Park summer concerts, thus providing music in an otherwise dull period of the year. Since with regular municipal or state alloca- tions for music, activities may be scheduled farahead and be planned in terms of benefit to the whole people, orchestras in the cities offering subsidies are usually stable; well-manned and thoroughly integrated in the community. PAGENO="0285" AID TO FINE ARTS 277 If state subsidies serve the purpose, one might ask, "Why institute Federal subsidies ?`.` Because our great musi- cal organizations are hampered when geographical limits are imposed on them. In the case of the New York State Bill, for instance, one can see the New York Philharmonic presenting a state-sponsored concert to citizens in Olean, New York; then, on being eagerly approached by Bradford citizens just across the Pennsylvania border-"While you are in the vicinity can't you arrange to give us a concert, too?"- having to refuse. So long as New York remains New York and Pennsylvania remains Pennsylvania, governmental sub- sidy in America, to fulfill its whole function, must include Federal grants. This boundary business comes into proper focus in government-sponsored trips of musical organizations abroad. When a great American orchestra plays in Berlin, Bangkok or Burma, no one bothers even to inquire about its state derivation. Moreover, some musical projects, by their very nature, must be dealt with on a national scale: a national cultural center built in Washington, D. C.; a national conservatory, such as America almost built in the 1890's; a national orches- tra. As things stand, the "National" Symphony of Washing- ton, D. C., not only does not receive Federal aid, but, since it is situated in no state, cannot derive benefit from state sub- sidies. One promising note: in the Washington, D. C., budget of 1961 was a recommendation by the District of Columbia Commissioner for an extra $25,ooo with which to further cultural activities, among which figures the National Symphony, the Washington Opera Company and the Wash- ington Ballet. Probably a combination of state and national subsidies would serve music best, as such a combination already serves education. Witness the 1957-58 allocations to our education system: $1.2 billion from the state and local governments and $701 million from the Federal Government. (Figures for 1960 show a proportionately greater increase of Federal con- tributions.) The mention of Federal subsidies brings up that buga- boo of Federal control. A straight look at the matter will lay this ghost once and for all. It is understood that there must be close attention to allocation goals. The government must consider carefully the end purpose of every taxpayers' dollar, see that each cent contributes to the cultural well-being of the whole society. PAGENO="0286" 278 AID TO FINE ARTS Control of this sort, however, is a quite different matter from tampering with the internal structure of musical organiza- tions. What is the danger of our government being guilty of that? To judge from its record, none. Under the President's Program, by which many leading orchestras and artists have been sent abroad via our International Cultural Exchange Service, the government, although footing the bill-a sum of about $2,00o,ooo each year-has left the selection of artists to qualified professionals who serve without pay as part of the ANTA management arrangement. Institutions of long standing which are supported by the government-the Li- brary of Congress, the Smithsonian Institute, the Geological Survey, the Fulbright Grants-are impeccably run, and not by political party appointees. It seems we have already taken to heart the lesson of government sponsorship in Europe where every country has established a system which removes the specific allotment of funds from the sponsoring agency and gives these decisions to competent leaders in the arts. Safeguards would of course be provided from the start. An Arts Council would be appointed to examine the field thoroughly; consider ways of administering the funds; lay before citizens of the United States a comprehensive picture of the musical situation; point out enterprises most worthy of assistance. For the special boost they would give to musi- cal endeavor, without interrupting the general scheduling of events, the following projects would no doubt stand high on the list: special tours, summer series, children's concerts, scholarships to young artists, commissions to composers. Once one concedes that fine musical performance is necessary to the cultural health of the nation and that insti- tutions like symphony orchestras, opera companies and schools of music must by definition be run at a deficit, then everything falls into its proper place. As our nation requires scientists to keep us abreast of modern devices, engineers to build our facilities, librarians to service us with books, and judges to dispense justice, so it requires musicians to give meaning to our daily lives. These must be helped not only as one lavishes money on Olympic sportsmen, as propa- ganda, but also as one provides for those members of society - poets and painters, sculptors and architects - who give identity to the nation and spirit to each of its inhabitants. PAGENO="0287" AID TO FINE ARTS 279 INDUSTRY'S AID TO MUSIC Industry is increasingly. prominent as a sponsor of music. Conditions call. ing forth this generosity are discussed in the pres. ent chapter. The Ford Motor Company paid the entire cost-around $i~o,ooo-of flying the one hundred and six musicians of the New York Philharmonic to Berlin to give two concerts at the Berlin Festival. The Monsanto Chemical Company sponsored a concert by the St. Louis Symphony, featuring Van Cliburn. The Union Pacific Railroad gave a $5,000 grant to the Omaha Symphony. In Montreal, four concerts take place each summer on the top of Montreal's Mount Royal. Texaco sponsors the first two and the Dominion Store the last two. The 1960 summer series of the Worcester (Massachu- setts) Orchestra was sponsored by six major Worcester com- panies. The Starlight Series of the Honolulu Symphony is spon- sored by the Dairymen's Association, Ltd. (Leis, courtesy of the Hawaiian Flower Distributors, and the guest artists' hotel accommodations, courtesy of the Hawaiian Village Hotel.) These isolated examples of industry giving represent a relatively new development in music's sponsorship. Only within the past twenty years has business become a signifi- cant factor in the artistic life of the United States and Can- ada. But if it is a sudden shift, it is also a spectacular one. It is estimated that in 1959, corporate giving in all fields of endeavor in the United States amounted to $~oo,ooo,ooo. Grants earmarked for musical enterprises are less meas- ureable. We have been able, however, to get a record of cor- porations' support of some twenty major symphony orches~. tras. The figures are illuminating. The 1959-60 fund drives of the various symphonies showed the following percentages contributed by industries: more than a fifth of the total amount raised by the San Fran- cisco Symphony; almost one-fourth of the total raised by the PAGENO="0288" 280 MD TO FINE ARTS Philadelphia Orchestra; 24.2 per cent of the total brought in by the Buffalo Philharmonic; approximately one-fourth of the total realized by the Los Angeles Philharmonic; about one-third of the amount raised by the Minneapolis Sym- phony; 45 per cent of the total of the Kansas City Philhar- monic; almost one-half of the sum realized by the San An- tonio Symphony; one-half of the Atlanta Symphony's total; 6o per cent of the total realized by the Houston Symphony. In Cincinnati and Louisville (Kentucky) where orches- tras receive monies from united arts funds-"cultural com- munity chests"-the percentages are "over a third" for the Louisville Orchestra and "more than a half" for the Cincin- nati Symphony. Some major orchestras, chary of percentage statements, yet reveal huge sums derived from industries. The Birming- ham Symphony gets almost $3o,ooo in contributions from two hundred businesses and industries annually; the St. Louis Symphony, during the 1959-60 season, received gifts to the amount of $ioo,ooo from six hundred industries; this year Rechester industrial banking and retail concerns corpo- rately pledged in one form or another more than $7'7,ooo toward the support of the Rochester Philharmonic. Astonishing figures are reported by the Detroit Sym- phony. The very reemergence of this orchestra in the i~o's from a period of total eclipse, was dependent on "The De- troit Plan" by which industries figured not only as sponsors but as actual founders. Today, the Detroit Symphony boasts at least sixteen industries and businesses which contribute $io,ooo each a year; six which contribute between $~,ooo and $io,ooo; two which contribute between $2,500 and $5,000; and nine which contribute between $i,ooo and $a,~oo. Aside from annual maintenance drives, there are innu- merable ways by which orchestras are aided outside the pat- tern. The fashion shows held annually by the Birmingham Symphony, to which seven department stores contribute to the amount of $5,000; the young peoples' concert programs paid for by the Atlanta Coca-Cola Bottling Company; the nineteen pop concerts presented by the Buffalo Philhar- monic; the summer series in Detroit underwritten in part by Detroit Edison Company and the National Bank of Detroit are cases in point. Then there are the sponsored radio and television pro- grams such as the New York Philharmonic by CBS, and, in 1959-60 by Shell Oil; four live telecasts with radio AM-FM PAGENO="0289" AID TO FINE ARTS 281 broadcasts of the Hartford (Connecticut) symphony, by Aetna Life Affiliated Companies; children's concerts by the New Orleans Philharmonic broadcast under sponsorship of various businesses of that city. Sometimes it is an area or hall, rather than actual money, that is donated. The Mondawmin Merchants Association of Baltimore provides space for summer concerts, namely the parking lot. J. P. Allen (ladies' wear) gives the Atlanta Sym- phony box office space. Why this sudden emergence of industry as contributor in the field of art? Confessedly it is not from a heady desire to illustrate the fine points of a fugue or a Messianic urge to spread the message of Beethoven's Ninth. Industry and busi- ness are founded on the law of supply and demand and de- part from it at their peril. The irrevocability of this law is ingrained in every executive who sits behind the glass-topped desk in the executive office. Industry and business put on pop concerts, finance music on television and contribute to symphony drives because such activities bring solid returns. There is no shilly-shallying about this. Hear what Morton D. May, president of the May Department Stores, Inc., in St. Louis, told a general session of the American Symphony Orchestra League at its convention in that city, in June, 1960. "Business learned that to survive," he said, "it must con- tribute to the well-being of free men in a free society. This emphasis upon the connection between private interest and the public interest . . . between the profit responsibility of management and its social responsibility, differentiates be- tween today's business and that of a generation ago. "The idea of investing time, skill and money in research to improve products and tools, reduce costs, advance market- ing methods and develop superior administrative techniques, has long been accepted as vital to maintaining a competitive position in industry. More recently, investments in commu- nity welfare, designed to make the environment of the enter- prise more conducive to operating efficiently, have been con- sidered desirable. "In essence, business has learned that it can grow and prosper only in a community that is growing and prospering -not only in numbers and monetary worth but in the broad cultural sense as well. It must be the kind of community that knows and appreciates the better things in life . . . that is constantly striving to uplift itself . . . to stand for leader- ship, including cultural achievement." 70259 O-61----19 PAGENO="0290" 282 AID TO FINE ARTS Later in his speech, Mr. May advised the symphony or- chestra representatives how to solicit the aid of industry: "You must demonstrate to them," he said, "how a cultural environment is a valuable asset to their business, and appeal to their civic pride and responsibility. Another helpful sell- ing tool is employee relations and the benefits to be achieved in this area by support of the arts." For instance, the management of the Mondawmin Mer- chants Association of Baltimore was quite clear on the point that the center wanted a promotion event which would not only bring people from all over the city to see the center and to be "exposed physically" to the stores, but which would also serve an unfulfilled need of the community. Inciden- tally, Redbook Magazine conducted a contest among the shopping centers in the United States to select the center with the best public relations and promotional ideas. The Mon- dawmin Shopping Center won a tie for first place in this contest, and the summer concerts were given credit for this billing. No doubt of it, business and industry have gained through their. support of the arts, One wonders why they delayed so long to begin the support. The principal reason could have been the belief, held almost universally at one time, of industries not having the legal right to share in com- munity activities. However, this doubt was erased when, in 1940, a decision in the courts of New Jerseygave full scope to industry's giving. Today corporations are allowed to donate up to 5 per cent of their taxable income, tax free, to qualified organizations. Musical enterprises on their part profit from industry's largesse, and their spokesmen are not loath to say so. "There is no question," writes Boris Sokoloff, general manager of the Minneapolis Symphony, "that in Minneapolis and St. Paul the assistance of industries is vital to the maintenance of the Minneapolis Symphony." Wrote Thomas Archer in the Montreal Gazcttc', "the recent blessing given to fine music by business and industry is one of the most pregnant developments in the history of music in this city. It means that music, which never pays in terms of box office receipts, is being recognized by hard- headed men as something a little more than just the luxuri- ous pastime of an evening." So much for the beneficial effects of industry's new~ found interest in the arts. PAGENO="0291" AID TO FINE ARTS 283 In every positive development-even in donations to good causes-there is always a negative aspect. Industry's aid, for one thing, is often localized. In some communities musical organizations receive almost no aid from industry, because the businesses located there are only branches of large corporations. Though some nation-wide corporations, such as Ford, are educated to the idea of their branch cities as well as their main centers being due for cultivation, many forget this important fact. New Orleans, for instance, is the headquarters of but a few large corporations. National com- panies maintaining offices in the area usually resist appeals for contributions for orchestral maintenance on the grounds that they will thus lay themselves open to being solicited for similar donations in all the sections in which they are repre- sented. That such solicitations are entirely in order does not seem to occur to them. The plain fact is that, just as all branches are expected to produce, so they should be equally solicitous of the artistic life of their communities. Then here again the spectre is raised, as it is raised in every case of outside help, be it individuals, governments or industries: Do the givers unnecessarily influence the policies of the musical organizations to which they contribute? In short, there is the situation of industrial executives becoming members of symphonic boards. It is true that in many cases of large donations, by an industry to a symphony orchestra, the corporation has a rep- resentative on the board of directors of the orchestra. But there are also checks and balances. The Louisville Orchestra management maintains that "board membership is not tied up with the personal gift," and the Los Angeles Philhar- monic's general director puts it, "Executives of some of the contributing organizations are members of the orchestra's hoard, but this is not a `quid pro quo' arrangement." In the Detroit Symphony annual gifts of $io,ooo by cor- porations automatically carry with them symphony board membership. However, great care is taken that the voting power.of each remains equal, "so that there can be no criti- cisms of any one organization dominating the policy of. the orchestra." In general, therefore, it seems to be a policy for the big givers to have posts on the board, with proper restraints and balances. Whatever abuses may creep in are to be righted, in any case, by diligence and a sense of integrity. But certainly the PAGENO="0292" 284 AID TO FJ~E ARTS mode of giving by industry is in itself a permanent part of our musical scene. The very future of our orchestras,.in fact, has become dependent on corporate support. In this era of the vanishing philanthropist and the reluctant governmental body, business and. industrial support form the solid finan- cial understructure of musical enterprise. PAGENO="0293" AID TO FINE ARTS 285 HOUSE OF REPRESENTATIVES, Washington, D.C. Hon. STEWART L. UDALL, ~Secretary, Department of the Interior, Washington, D.C. DEAR MR. SECRETARY: Along with many other Members of Congress I have consistently supported measures to advance the educational and cultural life of the Nation's Capital and make our Capital City ever safer and more attractive to live in. As a member of the District of Columbia Committee~ it has, in fact, been my duty to do this because of the historic intent of the Congress that this great Federal City must represent the best of American life and reflect the deepest educational and cultural aspirations of the people of this Nation. The Nation's Capital in 1950 observed and celebrated the sesquicentennial of its establishment as the seat of government. In connection with and as part of this occasion the Congress authorized the erection of the Carter Barron Amphi- theater and appropriated nearly $1 million to build it. The purpose of the Congress in creating this great cultural and artistic facility was-as the records clearly reveal-to advance the cultural, educational, and artistic growth of the Nation's Capital. The Congress lodged the management of this amphitheater in the t~epartment of the Interior. For the full development of the aims of the Congress had in mind, it would perhaps have been wiser to have placed the management within the Smithsonian Institution, a Federal agency concerned more directly with the diffusion of knowledge. I think the time has come if it is not, indeed, long overdue-to make a study of the Carter Barron Amphitheater operation which would take into account the major summer cultural programs in other U.S. cities and in leading European cities. The State Department, and our ambassadors abroad in other countries, would be delighted to cooperate, and their reports on summer cultural programs in Europe should be an important part of such a study. The Department of the Interior's stewardship of the Carter Barron Amphitheater as a cultural facility over the years should be subjected to a critical and searching analysis and no attempt to justify sins of omission or commission should be permitted. Nor should any bureaucratic whitewash be attempted. Perhaps a special advisory committee made up of educational, cultural, and fine arts experts and leaders should be set up to help you carry out the study. This would assure the public of its impartiality and the soundness of its conclusions. The major purpose of the study I propose, which I urge you to undertake, should be to find ways to make the Carter Barron Amphitheater a far greater and much more significant educational, cultural, and artistic force in the Nation's Capital than it has ever been. Such a study should certainly show conclusively what other major cities here and abroad do toward encouraging and developing and assisting in the growth of their own local artistic groups, their own talented artists, their own young artists; how much "commercial talent" they import; the role of civic, nonprofit groups similar to the National Symphony Orchestra and the Washington Opera Society; and whether they import all the talent presented on their summer programs from other cities as the Department of the Interior does in its programs at the Carter Barron Amphitheater. No doubt professional, commercial entertainment of the kind which the Department of the Interior presents at the Carter Barron Amphitheater, including at times, I am told, sick jokes and a burlesque-hall-type of humor which would not be permitted on the family television set (which is significant, I think, at a time- when broadcasting is being blamed by irate parents for some of the rising tide of juvenile delinquency), has its place. However, whether that place is in this great cultural facility to the utter exclusion of the National Symphony Orchestra and other civic, nonprofit educational and cultural programs, activities, and groups, would be thoroughly explored by the kind of a study I have proposed. It might well be that it would be found during the course of the proposed study that some of these programs which are presented at the Carter Barron Amphitheater should be presented in a privately owned theater or night club under commercial auspices for private profit and not be given the endorsement of the Federal Government which presentation at the Carter Barron Amphitheater implies. I shall now suggest some additional matters which the proposed study should cover. For instance, I find it shocking that the Department of the Interior has no place in its Carter Barron Amphitheater programs for the National PAGENO="0294" 286 AID TO FINE ARTS Symphony Orchestra and other nonprofit cultural groups of the Nation's Capi- taL The National Symphony Orchestra is the only major symphony orchestra in the United States without a summer season. At the present time, the highly talented musicians of the National Symphony Orchestra must turn to other forms of employment to eke out a livelihood. Their resourcefulness in this regard is little short of amazing, though it does little to advance the cultural life of the Nation's CapitaL Some of these musicians are summer salesmen, and summer guards carrying guns in Federal buildings including the Library of Congress. This situation persists year after year in the Nation's Capital without any sign that top officials of the Federal Government, who are sensi- tive to the cultural aspirations of people abroad in other nations, are aware of, or understand, its full implications in a world in which the United States in this cold war period has assumed leadership of the free world. New York City, with the solid backing of the city administration and the mayor, has its summer music programs and its free Shakespeare in Central Park. Other U.S. cities have summer programs in all of the arts, many of them free to the public or available at nominal sums. Philadelphia's Robin Hood Dell concerts are world famous, and the city of Philadelphia contributes ~75,OOO annually to make them possible. The St. Louis Municipal Opera, the Hollywood Bowl concerts, the Boston Symphony Orchestra concerts at Tariglewood in Lenox, Mass., these and a hun- dred other famous summer music programs are in the mainstream of the tradition established by the free band concerts on the common or the courthouse square- one of the oldest and most universal of American cultural institutions. You may rest assured, Mr. Secretary, that any step you may take to broaden, deepen, and to raise the educational and cultural, and artistic level of the fare offered at the Carter Barron Ampitheater will meet with powerful and respect- able support from all sertions of our country from people in all walks of life who are fed up with the tawdry, the cheap, and the spurious cultural values and fare which are so easily available to them and their children. They want something better, something nobler than the art factories of New York's Broad- way, and Hollywood, and radio and television offer in such massive doses. They want something vital, alive, and close to the American dream and the American promise. The sweep of history has made the United States the leader of the free world, and we must compete with the Soviet union for. the minds and the hearts of men everywhere in the world. The Nation's Capital must take its rightful place be- side other capital cities of the world in cultural matters if we are successfully to carry forward our high mission. That the Department of the Interior, in its management of the Carter Barron Amphitheater, has not been able to accommodate the National Symphony Orchestra-or even the Washington Civic Opera Association-is nothing short of preposterous. It is high time that a study was made of how such groups could use this great cultural facility in view of the statements made repeatedly by national publications that the Nation's Capital is a "hick town" behind even such a provincial capital as Tiflis, U.S.S.R., in the fine arts. A second step which you could take would be to create immediately an ad- visory panel of civic, educational, cultural, and fine arts leaders to help to de- velop a challenging and significant cultural and artistic program at the Carter Barren Amphitheater which would rise to the level of some of the world-famous cultural festivals in this country and in Europe. The Pablo Casals festival `in Puerto Rico should be an inspiration and a guide to you in developing a major cultural program for the Nation's Capital at the Carter Barron Amphitheater and in the other facilities controlled by the Department of the Interior. Sincerely yours, CARROLL D. KEARNS. HousE OF REPRESENTATIVES, Washington, DXI. Hon. STEWART L. TJDALL, secretary, Departrneat of the Interior, Washington~, D.C. DEAR Mn. SECRETARY: It is always instructive to us "old hands" in the Con- gress to have replies shot from the hip at us by minor officials in Fede~'al de- partments and agencies which hit the front pages of the newspapers whenever we write to the heads of those agencies; and even before we get an official answer. PAGENO="0295" AID TO FINE ARTS 287 I wrote to you on June 1 pointing out, among other things, that Puerto Rico, in the Pablo Casals festival, had a much higher cultural content to that pro- gram than the Capital City of the richest Nation in the world had in the Carter Barron Amphitheater program run by the Department of the Interior. So far, I have had no reply to my letter. You are advised that my letter was hand-delivered to your office on May 3.1. This morning I have had a reply of a kind to my complaint that the Department of the Interior "has no place in its Carter Barron Amphitheater programs for the National Symphony Orchestra and other nonprofit cultural groups of the Nation's Capital. The National Symphony Orchestra is the only major sym- phony orchestra in the United States without a summer season." In a front-page article in the Washington Post of June 5, 1961, we find the following information: "We would love to have them there," T. Sutton Jett, Superintendent of the National Capital Parks charged with administration of the amphitheater said, referring to the National Symphony, "but we can't afford them." A study made by the Library of Congress in 1959 and inserted in the Congres- sional Record by both Senator Hubert H. Humphrey and Representative Harris B. McDowell, Jr.~ showed that the Nation's Capital spends annually on the arts the fantastic sum of $16,000. This is the lowest amount of any city in the United States except Hagerstown, Md., which spends $12,500 on the fine arts, according to the study. In the 86th Congress bills were introduced by Senator Humphrey, Senator Morse, Representative Harris B. McDowell, Jr., and Representative Frank Thompson, Jr., setting aside 1 mill, or one-thousandth of a dollar, out of local taxes for cultural programs. It was estimated at the time that this would raise $185,000 at a minimum for cultural programs. This year, Senator Clark, of Pennsylvania, Congressman Frank Thompson, Congressman Powell, of New York, Congressman Chelf, of Kentucky, and Con- gressman Celler, of New York, have introduced legislation providing a Federal-State grant-in-aid program to help the fine arts. I have cosponsored this legislation and I am happy to advise you that $100,000 would be provided an- nually for the District of Columbia art programs, including those at the Carter Barron Amphitheater. However, since the Department of the Interior has the largest cultural facil- ity in the Nation's Capital in its charge it should have come to the Congress for the funds necessary to properly present the National Symphony Orchestra and other nonprofit cultural programs such as the Washington Civic Opera Co., the Children's Theater of Washington, the Washington Ballet Co., and other groups at the Carter Barron Amphitheater. The present appropriation of $16,000 for the fine arts won't be raised unless the Congress, which is in charge of the purse strings regarding local appropriations of the city of Washington, raises it. It won't raise it to any- where near the sums spent on the arts by other cities until you, Mr. Secretary, and others, including the District of Columbia Recreation Department-which is charged by the Congress with carrying on cultural programs in the Nation's Capital together with the Department of the Interior-seriously get down to the business of developing the kind of cultural program which the Congress authorized in the Carter Barron Amphitheater Act, and the act establishing the District of Columbia Recreation Department. It was with this in mind, Mr. Secretary, that I suggested in my~ letter that a special advisory committee made up of educational, cultural, and fine arts experts and leaders should be set up to make a study of how the Carter Barron Amphitheater could be made a major cultural force. I said that the Department of the Interior's stewardship of the Carter Barron Amphitheater "as a cul- tural facility" over the years should be subjected to a critical and searching analysis, and no attempt to justify sins of omission or commission should be permitted. Nor should any bureaucratic "whitewash" be attempted. In view of the evident feeling at the Department of the Interior that the richest Nation in the world can't afford a worthy cultural program in the Carter Barron Amphitheater which was the gift of the people of this Nation to the Nation's Capital for such programs, the special advisory committee should undertake a study of how such programs are financed in other major cities of the United States and Europe. The Federal Government cannot continue any longer to occupy its present anomalous position which, by its control of the purse strings, denies to the people PAGENO="0296" 288 AID i~o FINE ARTS of Washington, D.C., the right to appropriate their own tax funds for the sup- port of cultural activities, and by its control of the major summer cultural facility denies its use for the National Symphony Orchestra, the Washington Ballet Co., the Washington Civic Opera, the Children's Theater, and other local cultural groups. You must know, Mr. Secretary, that the Watergate is no longer suitable for cultural programs due to the fact that at least one great 4-engine airplane flies immediately overhead every minute as the landing field at the National Airport is approached. The Federal Government shows not the slightest concern for this situation, and has consistently supported the airplanes over culture. Having made the Watergate unsuitable by the airflight landing patterns, it now says that it can- not afford to use the Carter Barron Amphitheater for major cultural programs. If this situation doesn't cry for a broad-based inquiry then nothing does. No doubt sick jokes and burlesque hall humor pays its ~vay. This is the way with things in our society where educational and cultural programs are crowded out of the television programs by soap operas, westerns, and a myriad other items which are able to find wealthy sponsors, who can write their cost off as business expenses. As I said in my letter of June 1, which I hope you will soon find time to answer even though it might keep you from a hike up the canal in this beautiful weather, the American people want something better than is so easily available to them and their children in the Carter Barron Amphitheater and over the television stations. They want something vital, alive, and close to the American dream and the American promise. I wrote you, too. that "t.he sweep of history has made the United States the leader of the free world, and we must compete with the Soviet Union for the minds and the hearts of men everywhere in the world." The United States, and its National Capital "must take its place" beside other nations and other capital cities in support of cultural matters. That the Nation's Capital is behind, even such a provincial capital city as Tiflis, U.S.S.R. should and must be a matter of concern to you, Mr. Secretary, just as it is to me if only because of the cold war and the competition of the Soviet Union. I shall look forward to hearing from you personally on this matter, Mr. Secre- tary. I enclose herewith a copy of the Library of Congress study to which I have referred. Sincerely yours, CARROLL D. KEARNS, Member of (Jonijress. DEPARTMENT OF STATE, Washington, May 12, 1961. Hon. HUBERT H. HUMPHREY, TJ.H. senate. Dm~a SENATOR HUMPHREY: In Mr. Coombs' absence, I am replying to your letter of April 25 in which you ask for his views concerning Harold Weston's proposal for a national conference on the arts and government. We have studied the outline of the proposed conference as well as the sugges- tion as set forth in Mr. Weston's letter to Pierre Salinger that such a conference be held under White House auspices. We believe that a conference which would help to define and clarify the appro- priate role of Government in the arts is very much to be desired and agree with you that Mr. Weston's particular suggestion has a great deal of merit. The conference itself appears to be well conceived. Its objective statement of the issues invites impartial consideration and the broad participation for it appears to include all interests concerned. Mr. Weston's proposal that the conference be sponsored by the White House is also fitting. That President and Mrs. Kennedy have already identified them- selves so closely with the arts has had an exhilarating influence on American cultural life. Their association with such a conference would visibly confirm this personal interest and would symbolize at the highest level of the Govern- ment's recognition that this is a national problem in which it must carry a share of responsibility. PAGENO="0297" AID TO FINE ARTS 289 You will be interested to know, I believe, that considerable attention has been given to the question of the Government's relationship to the arts by the Depart- inent's Advisory Committee on the Arts which is aware of and endorses Mr. Weston's efforts. Sincerely, MAX ISENBERGH, Acting Assistant Secretary for Educational and Cultural Affairs. NATIONAL COUNCIL ON THE ARTS AND GOVERNMENT, New York, N.Y., April 13, 1961. PIERRE SALINGER, Press Secretary to the President, The White House, Washington., D.U~ DEAR Mu. SALINGER: Thank you indeed for your letter of March 24. We shall be keenly interested in the decisions about the proposals you made for music and art prizes. In view of your professional interest in the arts and in government, your opinion would be of great value to our council about another matter. Due to the increase of public interest in the arts, the relationship of government, both State and Federal, to the arts is being widely debated. But there is little clarification about what that relationship should be in our country and opinions are widely divided. Last year our organization applied to seven major foundations for grants to enable a national conference to be held and the findings published. All of the foundations recognized the need for such a conference, but the required funds were not forthcoming. We are reluctantly giving up this proposal. The refreshing enthusiasm of President and Mrs. Kennedy for the arts and their conviction about the value of t.he arts raise hopes, that a national confer- ence on methods of cooperation between government and private initiative to forward the arts might be held under White House auspices. Such a White House Conference would give impetus to the creation of a bipartisan National Committee of the Arts suggested by Congressman Carroll D. Kearns. We do not know what assurances of organizational support or financial back- ing would be required before a White House Conference could be formally sug- gested. I am authorized to convey to you the deep interest of our council in this proposal. We shall be glad, if requested, to promote the idea, but we are not in a position to undertake any major responsibilities. The next meeting of our council is on April 27. It would be particularly appreciated if I might receive by that date some indication of your reactions to this letter. We fully realize `that such `a conference calls for a great deal of advance planning. Sincerely, HAROLD WESTON, Chairman. NATIONAL COUNCIL ON THE ARTS AND GOVERNMENT, Nnw YORK, N.Y. ANNUAL REPORT, 1961 Due to delays in the organization of the standing committees of the 87th Congress, and in order to be able to include the numbers and sponsors of the major art bills that were anticipated, this report was not issued as usual in January. NEW FRONTIERS FOR GOVERNMENT AND THE ARTS' The climate in Washington, in spite of snows, chill winds of a threatened reces- sion, and storm clouds over Africa, has most noticeably improved for the arts. This change made an impact across the country on the day that President Kennedy invited a number of distinguished artists and scientists to attend his inauguration. A good augury had been the appointment of Gov. Abraham A. Ribicoff as Secretary of Health, Education, and Welfare. If pending legislation is enacted, he will be in a key position in cultural matters for the new adminis- tration. Governor Ribicoff has a real interest in art, particularly painting and sculpture, and we have reason to believe that he will be quite sympathetic to constructive measures for the arts. A forward step was taken for the arts last week when President Kennedy appointed Mr. Philip H. Coombs Assistant Secre- PAGENO="0298" 290 AID TO FINE ARTS tary of State for Education and Cultural Affairs. This is a higher rank than the position of assistant to the Secretary held by his predecessor, and, since it is established by Executive order, no legislative confirmation is required. The choice of Mr. Edward R. Murrow as Director of the U.S. Information Agency is another development encouraging for the arts. The int~rnationa1 cultural exchange program managed by AXTA for the Department of State has fortunately not been subject to any serious attempts to impose censorship by Congress. The USIA, which manages the visual arts portion of that program, has come under concerted attack for its liberal attitude, specifically in conS nection with the paintings and sculpture sent to the Moscow Fair in 1959 but also several times previously. Mr. Murrow can be trusted to defend to the ut- most any attempts to censor the arts in any unwarranted manner. Precedents must not be established for governmental censorship of the arts. We are very happy to be permitted to draw attention to the most recent evi- dence of the President's and Mrs. Kennedy's concern for the arts-specifically for legislation to promote the arts in America. This is due to the initiative of Congressman Carroll D. Kearns who recently wrote to Mrs. Kennedy about Fed- eral legislation for the arts during the past 8 years, stressing that several major proposals had not been enacted. "If the fine arts are to advance in our country as they should," he wrote, "it is my firm conviction that a bipartisan national committee for the arts must be created to work for the passage of the legislative measures which have been introduced in this and previous Congresses." Mr. Kearns expressed confidence that if Mrs. Kennedy and former President Eisen- hower were willing to serve as cohonorary chairmen "of this highly important national committee-it could be organized quickly and become firmly estab- lished, and the cultural, civic, and political leaders of the 50 States (including the Governors) would consider it an honor and privilege to serve with you." Mrs. Kennedy replied on February 8: "DEAR CONGRESSMAN KEARNS: Thank you for your letter of February 3 with its most stimulating contents. Both the President and I were interested in your exposition of the past and present status of Executive participation in cultural affairs. We are in complete agreement with you `the unfinished cultural busi- ness' is most important. "I would like to study your letter in relation to current projects. I will be in touch with you at a future date on the whole subject. "Again, thank you for bringing this matter to our attention. "With very best wishes, "Sincerely, "JACQUELINE KENNEDY." The NOAG most heartily supports Mr. Kearns' admirable suggestion. As How- ard Lindsay stated in our annual report, 1960: "The slowness of the Federal Government in recognizing the role of the arts in our national welfare is largely due to the failure of American artists and the public to impress upon Members of Congress their support for measures concerning the arts." The arts clearly need a powerful national committee to speak for them in a voice loud enough to be heard. ACCOMPLISHMENTS OF THE 86TH CONGRESS, 2D SESSION Pathetically little was accomplished for the arts. Legislation to create a Federal Advisory Council on the Arts was not enacted before the Rules Com- mittee did not permit the House to vote on it. The "Florence agreement" to reduce tariffs on educational, scientific, and cultural materials, which had been initialed by the United States in 1950, was ratified. However, this is an empty gesture until legislation is enacted to alter current tariff regulations which legislation was not even introduced. Our country's tardiness in joining the 33 nations participating in this cultural treaty seems inexcusable. (See be- low, H.R. 2537 in No. 6.) The so-called cabaret tax was reduced from 20 to 10 percent as the direct result of a most effective campaign initiated by the American Federation of Musicians. This achievement demonstrates the value of an organized campaign. Similar results can be accomplished if enough peo- ple care enough to take the time and trouble to express their views to Congress. LEGISLATION RELATING TO THE ARTS, 87TH CONGRESS For each new Congress all legislative proposals are given new numbers. These numbers are valid for both sessions of that Congress. Where identical PAGENO="0299" AID TO FINE ARTS 291 bills have been introduced in the House, priority in this report is generally given to sponsors who have supported a similar measure in the past or else who are members of the committee to which the bill has been referred and are therefore in a better position to forward it. In any case, the NCAG has no intention of implying favoritism of persons or party. It frankly supports some proposals far more than others but it endorses equally all identical bills. This report evaluates all major art bills introduced in both Houses to mid-February and also other bills definitely anticipated; 36 cultural bills and 3 joint resolutions have been submitted in the House by 19 Congressmen. In the Senate, where co- sponsorship is permitted and where legislation concerning taxes is not initiated, nine bills have been introduced sponsored by 34 Senators. The chairman of the committee or subcommittee to which each major bill has been referred is named. It is of primary importance that resolutions by organizations and letters from, individuals about a bill should be addressed to him. Identical messages or postcards are distinctly worthwhile but less effective than a citizen's own statement, however brief. It is also very impor- tant for individuals to write to their own Congressmen and Senators, particu- larly the former. In such cases, the same communication may urge support for several different measures before House or Senate, preferably mentioned by the number of each bill. Address all Congressmen: House Office Building, Washington 25, D.C.; address all Senators: Senate Office Building, Washington 25, D.C. 1. Federal Advisory Council on the Arts This basic legislation, which would establish a consultative body of specialists in the arts to advise Congress and the administration, is the only measure for the arts specifically endorsed by both candidates for President. The proposal, first made made by former President Eisenhower in 1955, was included in the Democratic Party platform last year. In view of the changed situation in the Rules Committee of the House, it has every expectation of enactment. The new chairman of the Committee on Education and Labor, to which this legisla- tion has been referred, is Congressman Adam C. Powell, who has indicated his position toward the arts by introducing `three cultural measures himself. Furthermore, he has appointed Congressman Frank Thompson, Jr., chairman of a new Subcommittee on Cultural Activities, which is good news indeed. Heretofore, art legislation was invariably delayed until after highly controversial legislation for education had been given lengthy attention. In view of this situation, the most effective way to advance this legislation is to write your own Congressman urging him to vote for it. * H.R. 4172 introduced by Representative Thompson (Democrat, New lersey) is the only House bill to date identical to the Senate measure. Other House bills are H.R. 413 by Representative Kearns (Republican, Pennsylvania), H.R. 3510 by Representative Celler (Democrat, New York), H.R. 3640 by Repre- sentative Bolton (Republican, Ohio), and H.R. 3250 by Representative Daniels (Democrat, New Jersey). In the Senate, S. 741 was introduced by Senator Hubert H. Humphrey (Democrat, Minnesota), and is cosponsored by Senators Clark (Democrat, Pennsylvania), Cooper (Republican, Kentucky), Douglas (Democrat, Illinois), Javits (Republican, New York), Long (Democrat, Mis- souri), Morse (Democrat, Oregon), Neuberger (Democrat, Oregon) and Williams (Democrat, New Jersey). If or when hearings are held on this legislation the NOAG hopes to call the attention of the respective committees or subcommittees to certain `~~;p,~cts of the bill that might be strengthened by committee action. However, NCAG has no reservation about endorsing this measure as it stands. Senator Lister Hill is the chairman of the Senate Committee on Labor and Public Welfare to which 5. 741 will be referred (erroneously originally assigned to the C~m- mittee on Rules and Administration as marked on bill). Senator Wayne Morse is chairman of the Subcommittee on Education. Since the Senate in 1956 unanimously approved Senator Lehman's bill for the same purposes, Senate confirmation would seem reasonably assured. However, it would be well to express your views to your own Senators. 2. National Cultural Development Act When Senator Joseph S. Clark (Democrat, Pennsylvania) introduced S. 785, cosponsored by Senators Humphrey (Democrat, Minnesota) and Fell (Democrat, Rhode Island), he said: "In this ëentury the United States has ceased to be a backward child in the arts and has become a leader. Our artists are in the first PAGENO="0300" 292 AID TO FINE ARTS rank of creative and performing ability. Not only do we not. need to apologize for their quality: they have given impetus to many fresh directions in which the arts all over the world are moving today. But, though we may boast of topflight performers and creative artists, we are still confronted by the fact. that cultural projects constantly run into economic difficulties which threaten their lives or make it impossible for them to reach fruition. Gifted students often do not have local artistic horizons which are sufficiently rich in opportunity for ad- vanced training and performance. Compare what we spend nationally on scien- tific programs with what we spend nationally on the arts. Compare our concern with seeing to it that scientists are trained with the haphazard way in which we force artists to scramble for their training, and indeed for their careers. Compare the support we give to ongoing scientific projects to the always shaky future of artistic projects." This legislation would authorize the yearly allotment of not more than $100,000 to any State having a suitable art agency and proposing specific projects in any field of art for which the State will provide not less than 50 percent of the required funds. Such assistance would be limited to nonprofit undertakings which could include: iiwentory of existing programs, survey of need for addi- tional facilities or projects, assist in construction of public and other nonprofit centers for performance, teaching, or exhibition, protection of historic sites, etc., training leadership, and conducting research and demonstrations in the various art fields. The Secretary of the Department of Health, Education, and Welfare will determine whether projects proposed carry out one or more pur- poses of this act and the allotment within the limits of available appropriations. This plan would stimulate State and local initiative and participation in devel- opment of the arts. It would also double (at least) whatever is made available by the Federal Government to encourage the arts and public enjoyment of them in any State. This plan would not grant subsidies to individual artists except insofar as they might be employed or commissioned in relation to a State project or program. It would establish a coherent and continuing outlook and policy toward the arts while leaving to the States the initiative as to what specific projects and programs would be jointly assisted. The amount of Federal money involved is infinitesimal in relation to the stimulus this assistance would give to the arts throughout our country. Congressman Emanuel Celler (Democrat, New York) introduced a similar proposal in the 86th Congress 2 years ago. The NCAG felt it was premature at that time but expressed in our report the hope that it would be resubmitted. By now this system seems timely and perhaps the best way to accomplish the most for the arts at least expense to the Federal Government. There is one objection that will almost certainly be raised: that this legislation would grant too much power to the Secretary of HEW. The NCAG, therefore, intends to suggest an amendment to the effect that the Secretary, before reaching decisions insofar as these concern projects or programs or policies for the development of the arts in any State with the exception of financial matters, shall request the advice of the Federal Advisory Council on the Arts and ask it to establish whatever special committees may be necessary for this purpose. We consider this legislation which includes all the arts second only to the Federal Advisory Council on the Arts in importance (see ~ection on "State Aid to the Arts" below). It is essential that both Senators and Congressmen should be sent evidence of vigorous support for it. S. 785 has been referred to the Com- mittee on Labor and Public Welfare, Senator Lister Hill, chairman. Oommuni- cations should also be addressed to Senator Wayne Morse, chairman of its Sub- committee on Education. If they are typed, copies should be mailed to your own Senators. Five identical bills have been introduced in the House: H.R. 4174 by Representa- tive Thompson (Democrat, New Jersey), H.R. 1942 by Representative Kearns (Republican, Pennsylvania), H.R. 2227 by Representative Chelf (Democrat, Kentucky), H.R. 2275 by Representative Powell (Democrat, New York), and HR. 3509 by Representative Celler (Democrat, New York). In priority Con- gressman Celler deserves to be the major sponsor (although Thompson had a simi- lar bill in the 84th Cong.). Both Representatives Powell and Thompson are in the best position to forward this important legislation, and Representative Kearns is minority leader of the Committee on Education and Labor to which these bills are referred. Communications should be sent to Representative Frank Thompson, Jr., Chairman, Subcommittee ou Cultural Activities, as well as to your own Congressman. PAGENO="0301" AID TO FINE ARTS 293 3. U.S. Arts Foundation S. 936 introduced by Senator Jacob K. Javits (Republican, New York) would authorize the appropriation of $5 million the first year and $10 million annually thereafter to a U.S. Arts Foundation to consist of a Director and 12 trustees appointed by the President. Grants from the funds at t~he disposal of the Foundation would be made available only to nonprofit undertakings in the per- forming arts fields. There is no question that in large areas of our country the public rarely has the. opportunity of experiencing live performances of high caliber theater and dance. As Howard Taubman wrote in the New York Times February 5: "Isn't it ironic that money can be found to send our theater to for- eign lands while similar efforts for home consumption are regarded. with suspicion, as if they might subvert the Republic? How many Americans have never seen the living theater with first-rate actors in fine performance?" There is also no question that it will take several years after the National Cultural Development Act has been authorized before Federal aid from this source will affect appreciably this situation and the need is pressing. As mentioned in pre- vious NOAG reports, there are some who believe this purpose could be carried out through the two existing organizations with. charters from Congress in the per- forming arts fields: the American National Theater and Academy and the Na- tional Music Council. Both might need to be somewhat revised for such responsi- bilities and it has been suggested that the Federal Advisory Council on the Arts should study this matter and recommend the best procedure. Senator Javits has claimed that his plan is akin to that of the Arts Council of Great Britain (by mistake called in United States "British Arts Council" which is comparable to our USIA), but its funds are applicable to all the arts. In any case, it is high time that the United States, like all other highly developed countries, should assist the arts, particularly the performing arts. Therefore, the NCAG, with some reservations as to method, warmly supports the purposes of the proposed U.S. Arts Foundation as a very valuable supplement to the proposed National Cultural Development Act. S. 936 has been referred to the Committee on Labor and Public Welfare, Senator Lister Hill, chairman. 4. E~vpansion of the international oultnral ea~chan.ge program As indicated in our 1960 annual report, the international cultural exchange program has been broadened by administrative order to include tours by per- forming groups developed at American educational institutions. These reach university towns and smaller cities abroad to which our professional performing artists are rarely sent due to the costs of such tours. ANTA has established panels to certify the standard of excellence of such groups and the results have been most favorable. In the United States we are apt to overlook the strong impact on the international attitude of a nation as a result of student opinions. *The NCAG has most heartily endorsed this development but protests loudly that this should not be done at the expense of the tours of our pro- fessionals. Their performances have enormopsly increased the status of Ameri- can culture overseas. They are the most valuable asset in the continuing cold war and directly reach the hearts and minds of millions. Mr. Howard Lindsay sent last June letters to every member of the Senate Appropriations Committee urging that the total appropriation should be increased if student tours were to be included since the House appropriation was based on tours by professionals only. In spite of favorable response by most of the members Of that com- mittee, appropriations were not increased and all our student tours during the current fiscal year are at the expense of tours by professionals. This should not happen again. It is really stupid policy to silence your most effective and biggest guns in the cultural war in order to supply light artillery. When we spend such vast sums on equipment for defense, surely our country can afford considerably more for the peaceful purposes of international cultural exchanges which are the best method to counteract the many millions of dollars spent annually by the Soviet Union for anti-American propaganda. Letters and reso- lutions on this point should be addressed to the chairman of the House Appro- priations Committee, Representative Clarence Cannon, chairman, and to Senator Carl Hayden, chairman of the Appropriations Committee of the Senate. A considerable increase in appropriations for the international cultural ex- change program is all the more essential if Congress approves the bills sub- mitted in House and Senate to broaden this program to make it in fact and not just in name an exchange program. S. 743, introduced by Senator Humphrey (Democrat, Minnesota) and cosponsored `by Senators Williams (Democrat, New Jersey) and Long (Democrat, Missouri) would amend the International Cultural PAGENO="0302" 294 AID TO FINE ARTS Exchange and Trade Fair Participation Act of 1956 to authorize the President to provide for participation by foreign governments and citizens of other coun- tries in artistic and cultural activities in the United States. While this is a commendable proposal and of considerable cultural value to our citizens, is this also to be carried out at the expense of our professional performing artists? S. 743 is technically an amendment to an enabling act and cannot appropriately propose appropriations. It would seeni that some reference could be inserted requiring separate appropriations or augmented appropriations for this purpose, or else that the amount that the President may designate for foreign artists coming to the United States should be limited to a small percentage of the total appropriations available during any one year. If this proposed expansion of the program which in itself is worthy of support, is adopted, then all the stronger pressure should be exerted to increase the total appropriations for the international cultural exchange program. S. 743 has been referred to the Committee on Foreign Relations of which Senator J. W. Fulbright is chairman. An identical bill, H.R. 4173 has been introduced in the House by Representa- tive Thompson (Democrat, New Jersey). It has been referred to the House Committee on Foreign Affairs, Representative Thomas E. Morgan (Democrat, Pennsylvania), chairman. 5. Architectural design and works of art for Federal buildings In the 86th Congress a bill was introduced by Senator Clark (Democrat, Pennsylvania) to provide high standards of design and decoration of Federal public buildings. The bill included admirable. provisions which would have en- larged the Commission of Fine Arts, required rotation of its members and their selection from nominations submitted by leading national organizations in the fields concerned, and broadened the area of its responsibilities. In the opinion of the NCAG, if the Commission of Fine Arts is to be given a share of advisory authority throughout the country, it is essential that sooner or later and the sooner the better, this Commission should be revised. Established primarily to be the "guardian of the L'Enfant plan" for the District of Columbia in 1910, it has had only three Chairmen, serving respectively 27, 13, and 21 years. The spirit of "new frontiers" has not yet penetrated the pillared bastions of the Com- mission of Fine Arts. H.R. 4175, introduced by Representative Thompson (Democrat, New Jersey), proposes a new approach which would retain administrative controls under the General Services Administration with the Director of the National Collection of Fine Arts and the Federal Advisory Council on the Arts in addition to the Commission of Fine Arts, serving in advisory capacity. The inclusion of the Federal Advisory Council, which undoubtedly would establish a special sub- committee or subcommittees for that purpose, is in our opinion an admirable proposal. The purposes of this legislation also include preservation of historic buildings and sites throughout the country, restoration of works of art owned by the Government, commissioning of new works of art, as well as design of new Federal public buildings. We are glad to report that the new Administra- tor of the General Services, Mr. John Ii. Moore, is said to favor a new and more vital approach to architectural design and decoration. This bodes well for the advancement of architecture and its allied arts in America. The enactment of this measure will be greatly expedited if it receives strong support from organizations and individuals in the fields of art concerned. H.R. 4175 has been referred to the Committee on Public Works, Representative Charles A. Buckley (Democrat, New York), chairman. It will be considered first by its Subcommittee on Public Buildings of which Representative Robert E. Jones (Democrat, Alabama) is chairman and to whom communications about this im- portant legislation shuld be addressed. Senator John Sherman Cooper with Senator Clark and possibly others as cosponsors will introduce an identical bill in the Senate shortly. It will be referred to the Senate Committee on Public Works, Senator Dennis Chavez (Democrat, New Mexico), chairman. H.R. 3940, introduced by Representative Thomas L. Ashley (Democrat, Ohio). proposes for the same general purposes a far less satisfactory solution in our opinion. The program would be under the Secretary of Interior and advisory opinions would be obtained from five Government officials, which seems made- quate. It has been referred to the Committee on Public Works. Another measure, H.R. 3939, which concerns Federal buildings and works of art in the District of Columbia, has been introduced by Representative Ashley (Democrat, Ohio). The important feature of this bill is that it would set aside PAGENO="0303" AID TO FINE ARTS 295 an amount not to exceed 1 percent of the total sum appropriated during the same fiscal year for the design and construction of public buildings within the Na- tional Capital region, which amount would be expendable for suitable works of art for such buildings. The Administrator of General Services would be re- sponsible for the selections with the advice of the Commission of Fine Arts. Some cities have these or similar provisions but often do not carry them out. HR. 3939 has been referred to the Committee on Public Works, Representative Charles A. Buckley (Democrat, New York), chairman. 6. Importation of education, scientific, and cultural materials H.R. 2537 has been introduced by Representative Daniels (Democrat, New Jersey) to amend the Tariff Act of 1930 so as to exempt from any import tax: books, publications, documents, music (manuscript or reproduced), architectural designs, works of art, films of certain categories, scientific instruments, articles for the blind, materials for exhibition, etc., provided they come within the scope of the Florence Agreement ratified by the United States last year. This legislation has been referred to the Committee on Ways and Means, Representa- tive Wilbur D. Mills (Democrat, Arkansas), chairman. Interested persons should urge prompt and favorable action. 7. Tax legislation of' concern to the arts or artists (a) IS~pecial tax provisions for self-employed persons (artists included) .-In the 86th Congress a bill sponsored by Representative Keogh (Democrat, New York) for this purpose passed the House, ran into a threatened filibuster by Senator Long (Democrat, Louisiana) and was dropped. A considerably revised version, H.R. 10 (the same number as in 86th Cong.) has been submitted by Representative Eugene J. Keogh and is titled "Self-Employed Individuals Re- tirement Act." This 55-page measure is far too complex to outline or even for the ordinary person to understand. Copies may be requested from Representa- tive Keogh. This legislation is actually of very considerable importance to artists who are apt to have drastically fluctuating incomes. It would permit them to set aside voluntarily portions of their income any year when these exceed their usual tax bracket and invest such funds for their retirement either in restricted trusts, insurance or annuity policies, or in custodial accounts, U.S. bonds, etc., within certain limits and stated provisions. The artist does not have to "retire" to benefit from this arrangement since he can withdraw such funds, within certain limits, at his discretion (presumably during a low-income year) which will be taxed as ordinary income when received. This legislation would substantally correct the flagrant unfairness of the present income tax regulations as they apply to artists, writers, and other self-employed persons of all professions with highly irregular incomes. Support for this proposal should be addressed to Representative Wilbur D. Mills, chairman of the Ways and Means Committee to which it has been referred. (b) Admission taxes-Three bills have been introduced to remove taxes on admissions as follows: H.R. 2043 by Representative Lindsay (Republican, New York) for any live dramatic performance (whether musical or not). The same measure has been introduced in the Senate by Senator Javits, S. 924. H.R. 746 by Representative McDonough (Republican, California) for certain benefits for religious, educational, and charitable organizations. H.R. 3557 by Repre- sentative McDonough for moving picture theaters. In our judgment, whatever the merits of the case, the above bills are not apt to be approved. They have been referred to the Committee on Ways and Means. (c) Excise taxes.-H.R. 635 by Representative Boggs (Democrat, Louisiana) to remove excise tax on musical instruments. HR. 4236 by Representative Davis (Democrat, Tennessee) to exempt musical program services from excise tax on communications. These bills also sent to Ways and Means. 8. Preservation of historic sites, buildings, works of art, etc. S. 742 sponsored by Senator Humphrey (Democrat, Minnesota) and cospon- sored by Senator Long (Democrat, Missouri) would amend the Historic Sites Act of 1935 to preserve sites, areas, buildings, and objects of national, regional, or local historical significance which are threatened by federally financed pro- grams. The Secretary of the Interior would act upon petition from a State, community, or certain national organizations concerned with this field. This worthy bill has been referred to the Senate Committee on Interior and Insular Affairs, Senator Clinton P. Anderson (Democrat, New Mexico), chairman. H.R. 175 introduced by Representative Curtin (Republican, Pennsylvania) would prevent the use of Federal funds for highway purposes if such con- PAGENO="0304" 296 AID TO FINE ARTS struction would damage or destroy national historical sites, buildings, or other objects. It has been referred to the House Committee on Interior and Insular Affairs, Representative Wayne N. Aspinall (Democrat, Colorado), chairman. H.R. 2276 introduced by flepresentative Adam C. Powell (Democrat, New York) would amend the Public Buildings Act of 1959 to authorize study of lo- cating three court buildings near the Supreme Court Building. The 86th Con- gress failed to take steps requested by many bills to prevent a large build- ing for these courts from being located on Lafayette Square, which would necessitate the destruction of the Belasco Theater, the Dolly Madison House and other historic buildings. For this new bill to be effective, an Executive order will be necessary to preserve Lafayette Square to give the 87th Congress time to Act. H.R. 2276 has been referred to the Committee on Interior and Insular Affairs, of which Representative Wayne N. Aspinall (Democrat, Colo- rado) is chairman, although this matter would seem to concern more directly the House COmmittee for the District of Columbia. Representative Adam C. Powell also introduced House Joint Resolution 147 to establish the former dwelling house of Alexander Hamilton in New York City as a national monument. This bill has also been referred to the Com- mittee on Interior and Insular Affairs. H.R. 1145 by Representative Harold R. Collier (Republican, Illinois) would provide for the preservation in the Library of Congress of audio recordings of historical importance. This seems a fine proposal and authorized $200,000 in a revolving fund. It has been referred to the Committee on House Admini- stration, Representative Omar Burleson (Democrat, Texas), chairman. 9. Promotion of foreign travel in the United 3tates Legislation to establish within the Department of Commerce of an Office of International Travel and a Travel Advisory Board might seem to have little to do with the arts. However, one of its major objectives is to increase by this means international understanding and appreciation of our cultural accomplish- ments and study of our arts at first hand. Most foreign governments expend large amounts to promote knowledge of their cultural assets. The result has been an appreciable factor in the drain on our gold reserves. In any case, the adoption of a comprehensive program, removal of travel barriers, information services for study, culture, recreation, business and other activities would be conducive to better knowledge overseas of our country. 5. 610, which would authorize $5 million for the above purposes, is sponsored by Senator Warren S. Magnuson (Democrat, Washington) and cosponsored by Senators Pastore (Dem- ocrat, Rhode Island), Monroney (Democrat, Oklahoma), Smathers (Democrat, Florida), Thurmond (Democrat, South Carolina), Yarborough (Democrat, Texas), Engle (Democrat, California), Bartlett (Democrat, Alaska), Hartke (Democrat, Indiana), McGee (Democrat, Wyoming), Schoeppel (Republican, Kansas), Butler (Republican, Maryland), Cotton (Republican, New Hampshire), Case (Republican, New Jersey), Scott (Republican, Pennsylvania), Javits (Republican, New York), Fong (Republican, Hawaii), Carroll (Democrat, Colo- rado), Cannon (Democrat, Nevada), Byrd (Democrat, West Virginia), Ran- dolph (Democrat, West Virginia), Holland (Democrat, Florida), and Keating (Republican, New York). This legislation has been referred to the Committee on Interstate and Foreign Commerce, Senator Magnuson, chairman. An identical bill, H.R. 3781, has been introduced in the House by Representa- tive Harris B. McDowell, Jr. (Democrat, Delaware) and has been referred to the Committee on Interstate and Foreign Commerce, Representative Oren Harris (Democrat, Arkansas), chairman. 10. NatIonal Portrait Gallery and National Collection of Fine Arts Another item of "unfinished cultural business" from the 86th Congress is legis- lation to establish under the Smithsonian Institution a bureau to be known as the National Portrait Gallery and to be administered by an Advisory Board. The collection of portraits owned by the Governm.ent is now scattered but would be assembled and housed together with the National Collection of Fine Arts as previously authorized in the fine Old Patent Office Building when that is vacated by the Civil Service. S. 744 has been introduced by Senator Humphrey, with Senators~Williams of New Jersey and Long of Missouri as cosponsors, and referred to the Committee on Rules and Administration, Senator Carl Hayden (Democrat, Arizona), chairman. PAGENO="0305" AID TO FINE ARTS 297 11. Proposed National Academy of Culture In the NCAG interim report of May 10, 1960, we stated: "Aside from the merits of this proposal, the NCAG cannot endorse legislation far too loosely drafted and without very essential safeguards to reduce the likelihood of politi- cally motivated appointments to the Academy." These views were presented at a hearing. Senator Francis Case (Republican, of South Dakota) has introduced S. 535 which is identical to the bill to which we objected. Representative Kearns (Republican, of Pennsylvania) introduced H.R. 414 which is also identical. If these proposals are to be seriously considered the maximum membership of the Academy, and the maximum number that may be elected each year should be specified; membership on the proposed Advisory Commission on Cultural Awards, which would select the life members of the Academy, should be on a rotating basis, and the members should be appointed from nominations submitted by recognized national organizations in the fields of art concerned rather than "from among officers and employees of appropriate instrumentalities of the Gov- ernment" or "from persons in private life" whom any administration may con- sider qualified. The above bills were referred respectively to the Committee on Labor and Public Welfare and to the Committee on Education and Labor. The NCAG does not support these bills. 12. Commission on Cultural Resources in the Nation's Capital The NCAG interim report of May 1960 outlined several similar bills in both Senate and House which sought to earmark 1 mill out of each $1 of tax revenue in the District of Columbia for cultural purposes. In the 87th Congress, at least up to mid-February, none of these have been reintroduced. Support is being given by the major sponsors of those bills to the National Cultural Development Act under which the District would qualify for a State allotment. Representa- tive Carroll D. Kearns (Republican, of Pennsylvania) has introduced H.R. 3982 which ~ould establish a Commission on the Cultural Resources in the Nation's Capital and become the equivalent of a State art council. Representative Powell (Democrat, of New York) has just introduced (February 15) H.R. 4348 identical to Mr. Kearns' measure. This is an admirable proposal and we are informed that Senator Cooper will shortly introduce a similar measure in the Senate. These bills will be considered by the Public Works Committees of both House and Senate, of which the Chairmen are respectively Representative Charles A. Buckley (Democrat, of New York) and Senator Dennis Chavez (Democrat, of New Mexico) to whom communications should be addressed. 13. Other proposals in the House H.R. 988 (Representative Kearns) would amend the National Cultural Center Act to provide additional land for the proposed center. H.R. 2587 (Representa- tive Wallhauser) would extend book postage rates to films for educational use. H.R. 2889 (Representative Dulski) would enlarge the American Battle Monu- ments Commission by three House and three Senate Members. H.R. 3020 (Rep- resentative Celler) would prohibit the charging of a fe~ to view telecasts in the home. H.R. 4279 (Representative Haley) would grant per diem payment to members of the Indian Arts and Crafts Board. Two House joint resolutions (Representative Celler 149 and Representative Halpern 157) would designate a National American Guild of Variety Artists Week. 14. Proposed International Youth Festivals in the Nation's Capital The NCAG criticized rather severely last year bills for an International Olym- piad of the Arts and Sciences and drafted alternative proposals. Such legisla- tion would authorize the holding of an International Youth Festival of the Arts and an International Youth Exposition of the Sciences on alternate years on a biennial basis in the District of Columbia. The Commissioner of Education would generally direct these biennials. American educational institutions would act as channeling agencies. The Secretary of State would extend invitations to foreign educational institutions and organizations and facilitate participation. Existing facilities in the District would be used. It is hoped that these under- takings could be financed largely by tax-deductible donations to the U.S. Treas- ury. Although authorization as biennials has been proposed, they could be held less frequently if that proved more feasible. With the accent on youth in the presept administration, these biennials would seem to provide a practical way not only to encourage young American artists and scientists but also to demonstrate to the youth of other lands our interest in their achievements in the arts and sciences. The NCAG believes that it is 70259 0-61-20 PAGENO="0306" 298 AID TO FINE ARTS through such steps as these that solid foundations can be laid for a durable peace. Senator Wayne Morse (Democrat, of Oregon) has agreed to introduce such a bill soon in the Senate and there is reason to believe that this will also be done shortly in the H ouse. The NCAG does not expect to issue an interim report this year since the annual report is issued far later than usual. It is suggested that persons, organizations or educational institutions interested in this pro- posal should communicate with Senator Morse. STATE AID TO THE ARTS AND STATE ART AGENCIES There seems to be a strong trend in Washington to channel Federal quid to the arts through State art agencies. In European countries, where very sub- stantial financial support is given to the arts by the national Government, the fine arts officials are generally within the framework of the Ministry of Educa- tion. In West Germany each of the States is responsible for its own educational system and for its aid to the arts. In England the Arts Council of Great Britain receives a grant from Parliament and is responsible to the Minister of the Exchecquer rather than Parliament for its distributon. This system would perhaps not seem the most suitable for the United States as long as every Member of Congress feels it is his own prerogative to raise an outcry or start an investigation as to the use of Federal funds for any purpose he may not ap- prove. Furthermore, the roots of an artist extend back to the soil from which he has sprung. Therefore, the growth and flourishing of the arts in a country depend not only "upon freedom, imagination, and individual initiative" but also upon the cultural climate of the community and its attitude toward the arts. The process of solid growth is from the ground up rather than from the top down. The need to take steps to stimulate State interest in the arts is all the more evident as a result of a recent survey made by the Library of Congress. Representative Frank Thompson, Jr., who has been an outstanding leader in forwarding Federal legislation for the arts, requested the Legislative Ref- erence Service of the Library of Congress to make a nationwide survey of aid given to the arts by each State. Requests for information were mailed to 50 Governors in February 1960. Replies, extremely varied as to thoroughness, were received from 47 Governors, which is quite remarkable. Only Colorado, Oregon, and South Dakota did not answer. Senator Joseph S. Clark inserted this survey in the Congressional Record on February 2, 1961, pages 1547 to 1554. It is far too lengthy to summarize. Copies could be obtained through your con- gressional representative. A few observations might be pertinent. (1) Only 14 States reported the existence of a State art council, commission, or similar agency. Few of these seem to be at that time effectively organized. However, this refers to about a year ago. Michigan, for example, stated "The State of Michigan does not directly support any State, local or private organiza- tions relating to the fine arts and cultural activities, as such." In contrast note below the development in Michigan during the past few months. (2) State expenditures vary from Nebraska's "No such support" to a re- ported over $4 million by Illinois. The latter includes, however, county fairs (from revenue from tax on horseracing bets) and is misleading. (3) The major support in many States is for historical or library purposes. The report points out that State support for art education in schools and uni- versities is not included since it is not separately recorded and probably is the largest item. (4) Very few States support the kind of projects and programs envisaged by the National Cultural Development Act In this connection see current plans for New York State below. Space permits only two examples of progress since last year by States: 1. A Michigan Cultural Commission was established in November 1960 by Gov. G. Mennen Williams to survey the State resources in all the arts, to recom- mend measures for encouraging their growth, and to define the role of the State government in this process. The commission consists of about 70 representa- tives of the arts. `Special committees operate in the various fields. Four emi- nent consultants from outside the State have also been appointed. The commis- sion iS at present formulating a report based on the recommendations of the in- dividual committees. This development is enormously encouraging. * 2. New York State established last year a New York State Council on the Arts to assess the status of the arts in the State and appropriated $50,000 for ad- ministrative expenses. The council has appointed six panels of specialists in PAGENO="0307" AID TO FINE ARTS 299 certain areas of the arts. Gov. Nelson Rockefellor has requested the legis- lature to appropriate this year $450,000 for its use. If granted, the council would no longer be merely an advisory body. Most of the projects proposed would benefit residents upstate, as they should. All grants would be to nonprofit undertakings. The performing arts would receive about 90 percent of the total. The vote on appropriations wil be taken toward the end of March. Citizens of New York State are urged to write at once in support of this appropriation to Assemblyman Fred W. Preller, chairman, assembly ways and means committee, and to Senator Austin W. Erwin, chairman, senate ways and means committee. Address both State Capitol, Albany 1, N.Y. FEDERAL AND STATE POLICIES RE THE ARTS As a result of our observations during the past 6 years of the selection and the administration of governmental art advisory bodies, attention should be drawn to a few conclusions. Members of such bodies should be persons of professional competence in the field they represent and willing to devote a fair amount of time to the task. The temptation to select persons for "window dressing" or for political affiliations should be resisted. The carrying out of decisions should not be left to the staff director, particularly if those decisions run counter to current administration policy in any way. Recommendations of a governmental advisory body should be "in the public domain" and made available to interested organizations or citizens. All forms of direct or indirect censorship of the arts should be resolutely opposed. One form of governmental controls is, for other reasons than censorship, being fairly widely discussed, particularly in the dance field. Therefore, the NCAG unanimously adopted the following resolution on February 16, 1961: "Resolution re licensing teachers of the arts. "Recognizing the desirability of spreading greater knowledge about higher standards of teaching of the arts and to prevent immature or incompetent per- sons from teaching any field of art, the National Council on the Arts and Govern- ment nevertheless is e~nphatical1y opposed to obligatory licensing of teachers and of the arts, with the exception of teachers who are a part of a State's public school or college educational system. The licensing of private or independent artists in any field is an unwarranted infringement upon the essential freedom of the arts. To set State-regulated standards to qualify private or independent teachers of the arts, even under the most favorable system, would involve gov- ernmental controls over esthetic matters which should not be tolerated in a free country. Such requirements would tend to enforce mediocrity and in- evitably become a serious threat to the development of the arts in our country. Furthermore, licensing per se would in no way prevent fraudulent advertising or misleading promises, or protect the public. There are existing laws for such abuses. Therefore, the National Council urges all professional organizations concerned with the arts to take a strong stand against legislation which would require the licensing of private or independent teachers in any field of the arts." CONCLUSION New frontiers in the relationship of government to the arts in the United States seem to be close at hand. Will this tardy dawn become a new day or fade away like a mirage? Now more than ever is the time to act individually and collectively, promptly, and vigorously. A similarly favorable situation may not recur in a decade. This report is issued by the NCAG to provide the neces- sary accurate, up-to-date information for immediate and effective action. Respectfully submitted. HAROLD WESTON, Chairman. The substance of this report was unanimously approved by the NCAG on Feb- ruary 16, 1961. The contents of this report may be used as desired, with or without reference to source. A limited number of copies (not over 50 per request) may be ob- tained at 15 cents per copy (in stamps or checks). The NCAG depends upon voluntary contributions from organizations and individuals. It pays no salaries. Our reports have been mailed free to' anyone requesting a copy and we hope to continue that policy. The demand is increas- ing beyond the limits of our slim budget. If you have found this report useful to you or to your organization, a contribution will be very much appreciated. Checks (not tax deductible) should be made out to the National Council on the ~trts and Government, 22 West 54th Street, New York 19, N.Y. PAGENO="0308" 300 AID TO FINE ARTS INFORMATION ABOUT THE NOAG The National Council on the Arts and Government, established in 1954, is the first national organization in the United States to include representatives of all major art fields and to be concerned primarily with governmental activities and legislation related to the arts. The NCAG is entirely nonpolitical and non- partisan. Members (limited to 50) are elected for their knowledge of one or more fields of art and may also represent organizations. The Council's purposes are to consider governmental activities, both legisla- tive and administrative, concerned with the arts on the Federal, State or munic- ipal levels, to assist in strengthening and improving such activities and legisla- tion therefor, and to act to the fullest extent of its limited facilities as a source for information about such matters for organizations and individuals interested in the arts. REQUEST FOR GRANT FOR PROPOSED NATIONAL CONFERENCE ON THE ARTS AND GOVERNMENT Applicant.-The National Council on the Arts and Government, 22 West 54th Street, New York 19, N.Y. Recipient of grant.-Columbia University has generously offered to be host to a National Conference on the Arts and Government, provided it receives the necessary funds in sufficient time for this conference to be properly organized. Date of comference.-June 1962 after commencement and before summer school begins. Need for ccmference.-There is increasing recognition in the United States that Government has a responsibility toward the development and appreciation of the arts. Demonstrations overseas under Federal sponsorship of our artistic achievements, which have enhanced the cultural status- of our country abroad, have led to a growing awareness that the arts are a vital factor in the welfare of our own Nation. Assessment of the relationship of Government to the arts in the United States and suggestions leading to sound future policy have become a matter of urgency. The proposed conference and subsequent publication of a comprehensive report would stimulate interest and discussion throughout the country among those with firm opinions-favorable or unfavorable to Govern- ment aid for the arts-as well as those who are uncommitted. As workdays shorten and life expectancy lengthens the arts will play an ever more important role in the lives of our citizens. It is not excessive therefore to suggest that this conference could well become a turning point in American cultural life. Purpose of conference.-The broad purposes of the conference will be- 1. To clarify the issues concerning the arts and Government at the Federal, State, and community levels; 2. To examine various undertakings by Government for the arts both here and abroad, together with their successes, shortcomings, and dangers; 3. To present and discuss proposals for augmented cooperation between Government and private initiative to advance the arts and their apprecia- tion in the United States; 4. To inform and involve professionals in the arts, individuals generally interested in the arts, Government officials in positions of responsibility relative to the arts, and legislators, to the end that intelligent and construc- tive direction will be taken for the benefit of the artists and the public. While opposing points of view will be represented and specific legislation dis- cussed or promoted by some individuals, it does not seem appropriate for this conference to reach any collective decisions and certainly not to advance any particular legislative measures. The study sessions should lead to assessment of the situation in various art fields and stimulate proposals leading to improved conditions whether with or without governmental cooperation. The subject is a complex one which needs precisely the kind of public forum which this con- ference would provide. Program of conference.-The tentative program for the conference is outlined on attached document A. The speakers at major sessions should be national figures drawn from the fields of the arts, Government, education, and industry. Leaders in the discussions should include outstanding artists, Government ad- ministrators, legislators, experts in political science and other disciplines related1 to art and Government. Effort will be made to secure geographical representa- tion in the selection of participants. PAGENO="0309" AID TO FINE ARTS 301 Registrants.-Attendance at the entire conference will be by invitation only, although four plenary sessions will be open to the public. There are several hundred organizations, National, State, or local, interested in the arts. These vary in size from the National Federation of Music Clubs (with 600,000 members and chapters in every State) to small professional art societies and community art centers, many of them very active. It may be best to handle the selection of registrants largely *through organizations, educational institutions, and governmental bodies. Place will be reserved for artists, patrons of the arts, and other interested individuals who may not be associated with organizations or institutions. Officials of Federal departments or agencies, who have duties connected with the arts but who are not asked to take an active part in the conference, will be invited to attend as guests of the NCAG. Direcion of conference-The conference will be sponsored by the National Council on the Arts and Government. A brief summary of its organization and principles is submitted on attached document B. A list of its present members, with notation of the field of art or the organization they represent, is on attached document C. The NCAG will create a National Conference Planning Committee, composed of members of the NCAG, representatives from Columbia University, and other individuals who, by their accomplishments, stature, or connections with national organizations or educational institutions, will contribute to the effectiveness of the conference. This committee will be responsible for planning and conducting the conference, and will engage a conference coordinator. The coordinator, with the advice and consent of the committee, will employ secre- tarial assistance and make all arrangements for the conference, exclusive of the subsequent publication. An honorary committee for the conference is planned composed of distinguished citizens and officials. Publicity.-Advance information will be distributed to potential registrants primarily through organizations, institutions, and branches of government. General public knowledge of the conference will be through magazine and press articles, TV and radio networks, etc. National and local coverage during the conference will be encouraged. Paid advertising is not anticipated. Subsequent publication.-The publication of a comprehensive report is con- sidered an integral part of this conference. A conference. editorial committee will be appointed by the NCAG. This committee will engage a conference report editor and an assistant. The editor, in consultation with the committee, will select the material, condense major addresses where necessary, edit study ses- sion reports, and carry out all tasks preliminary to publication. The president and director of the Columbia University Press has expressed "strong interest in the publication possibilities of the symposium on the arts and Government which the National Council on the Arts and Government plans to hold here at Columbia next June. I hope that we may be able to work with you." The budget figures for this publication and other printing in preparation for the conference were reached in consultation with Columbia University Press. The purchase cost of 1,500 copies includes distribution to all registrants, participants invited by the NCAG, prominent Government officials, and review copies. Co- lumbia University Press will handle sale of the report to the public, libraries, etc. Financing conference.-Columbia University, upon receipt of the necessary funds, will authorize the National Council on the Arts and Government. to act as administering agency for the conference. Columbia has offered to provide auditoriums, meeting rooms, office space, and accounting services without charge, and also to make available rooms in residence halls at very reasonable rates for registrants. This generous offer will not onlW reduce the amount required, hut also will encourage attendance from other parts of the country. The budget (see attached document D) has been prepared as realistically and prudently as possible. Grants to Columbia University totaling $30,500 by June 1961 are required to enable this conference to be held in June 1962. The NCAG will be glad, if so requested, to supply any further information that may be desired. PAGENO="0310" 302 MD TO FINE ARTS NATIONAL CONFERENOE ON THE ARTS AND GOVERNMENT, COLUMBIA UNIVERSITY, JUNE ~961 TENTATIVE PROGRAM FIRST DAY 9-il a.m.: Registration. 11 a.m.-i p.m.: Plenary session open to the public (recorded for network): "The Place of the Arts in Government" Opening address by representative of Columbia University. Contrast of European and British systems of support for the arts. The traditional American system of private initiative. Federal and State responsibilities relative to the arts in the United States. 2:30-5 p.m. : Plenary session not open to the public: "Common Interests of the Arts in Relation to Government" Prominent speakers will cover the following: (a) Philosophic and esthetic principles. (b) Cooperation at the national level. (c) Practical experience in a community. 6-7 p.m.: Reception at the 1~Iens' Faculty Club. NOAG Hospitality Committee will arrange for eminent persons in the arts to be present. 8:30-10:45 p.m.: Plenary session open to the public (national network): "The Arts and the Pnblic Interest" Titles of addresses are merely suggestive: "The Place of the Arts in a Culture." "Artists, Scientists, and Freedom." "Public Participation in the Arts." "The Arts and International Relations." SECOND DAY 10 a.m.-12 :30 p.m.: Study sessions not open to public. A committee is to be formed for each study group. It ~vill select a chairman, recording secretary, and panel of three or four persons to lead initial discussions. It will prepare for circulation in advance major issues to be considered with reference list of legislative measures enacted or pending. Registrants will be asked to sign up for field of interest. 1. Architecture and allied arts (as related to architecture). 2. Dance. 3. Drama. 3. Literature. 5. Mass metha. 6. Music. 7. Painting, sculpture, graphic arts, and crafts. 8. Community art centers and arts councils. 2:30-5:30 p.m.: Continuation of study group sessions not open to public: Afternoon sessions will be largely free discussions of those areas of greatest interest to that group with some effort by chairman to obtain consensus of opin- ion on controversial issues but no attempt to endorse specific legislation. THIRD DAY 10 a.m.-12 :30 p.m.: Plenary session not open to public: "Reports of study sessions, recommendations and discussion" Reports by the eight chairmen might be divided into sections which cover: (a) Overall specific needs of that art field or subject. (b) Areas in which Federal cooperation is needed. (c) Areas in which State cooperation is desirable. (d) Areas in which municipal or local government could be helpful, stressing methods that have proved most successful which could provide a pattern of procedure. Questions from the floor in writing will be answered after conclusion of re- ports and priority will be given to those of broadest interest to the registrants. PAGENO="0311" AID TO FINE ARTS 303 2:30-5:30 p.m.: Plenary session open to the public (recorded for network): "Federal legislation relative to the arts" Sponsors of major Federal legislation from both parties will discuss the respon- sibility of Congress in cooperation with private initiative to increase public participation in and appreciation of the arts. The last hour will be reserved for questions from the floor in writing. 8:30-10:45 p.m.: Plenary session open to the public (na'tional network): "The future of Government and the arts in the United ~$tates" Two speakers of national stature, one to summarize the work of the conference relating to the future particularly, the other to make the closing address of the conference. DOCUMENT B INFORMATION ABOUT THE NCAG The National Council on the Arts and Government, established in 1954, is the first national organization in the United States to include representatives of the seven major fields of art and to be concerned primarily with governmental activi- ties and legislation related to the arts. It is entirely nonpolitical and nonparti- san. Members (limited to 50) are elected for their knowledge of one of more fields of art and may also represent organizations. The Council's purposes are to consider governmental activities, both legislative and administrative, concerned with the arts on the Federal, State, or municipal levels, to assist in strengthening and improving such activities, and to promote sound legislation affecting the arts. Some of the Council's governing principles are: "In view of the increasing importance of the arts in our national life, we believe that they deserve adequate recognition by the Federal Government of the United States, by the States, and bymunicipalities." "Since the arts are universal languages leading to greater understanding among nations, we believe that they should be fully utilized in international cultural exchanges." "We believe that all governmental art activities should respect and uphold freedom of artistic expression." "We believe that the Federal Government, the States and the municipalities, in their activities connected with the arts, should draw upon the best profes- sional knowledge and judgment; that any athrisory bodies for the arts should be professional rather than political; and that the various fields of the arts should be represented on such bodies relating to their field and should have a voice in nominating the members of such bodies." NATIONAL COUNCIL ON THE ARTS AND GOVERNMENT Membership, June 1960 Richard F. Bach, representative of American Institute of Design. Pietro Belluschi, architect, dean, School of Architecture, MIT. Mrs. C. Arthur Bullock, president, National Federal of Music Clubs. Dr. Oscard J. Campbell, educator, former administrator arts center program of Columbia University. Henry Seidel Canby, author, editor. Charles Collingwood, commentator. Norman Dello Joio, composer. Rene d'Harnoncourt, director, Museum of Modern Art, New York. Lamar Dodd, painter, head, Department of Art, University of Georgia. PAGENO="0312" 304 AID TO FINE ARTS Henry Dreyfuss, industrial designer. Quaintance Eaton, executive secretary, National Commission for the Musical Arts. Hy Paine, national executive secretary, American Guild of Musical Artists. Dave Garroway, TV personality. Lillian Gish, star of film and stage. Lloyd Goodrich, director, Whitney Museum of American Art, author. Dr. Alice Griffin, head, Department of Theater Arts, Hunter College, representa- tive of American Educational Theater Association. Dr. Howard Hanson, composed, conductor, president, National Music CounciL Alfred Harding, former assistant to president, Actors Equity Association. Edwin Hughes, pianist, executive secretary, National Music Council. Theodate Johnson, publisher, Musical America. Herman Kenin, president, American Federation of Musicians. Dan Kiley, landscape architect. Billie Kirpich, representative, Dance Teachers Guild. Mrs. Serge Koussevitsky, patron of musical arts. Leon Kroll, painter, president, U.S. Commission of International Association of Plastic Arts. William Lescaze, architect. Dorothy Liebes, textile designer. Howard Lindsay, playwright, actor, producer. Gertrude Macy, general manager, International Cultural Exchange Services, ANTA. Dick Moore, actor, representative, Actors Equity Association. Joseph Allen Patterson, representative, American Association of Museums. Andrew Ritchie, director, Yale University Gallery of Art. Theodore J. Roszak, sculptor. Robert C. Schnitzer, general manager, ANTA International Exchange Program. Gilbert Seldes, author, editor, educator. Seymour N. Siegel, director, Municipal Broadcasting System, New York. Dr. Carleton S. Smith, musicologist. W. Eugene Smith, photograph. Eleanor Steber, opera, concert artist. Edward D. Stone, architect. Rex Stout, author, former president, Author's League of America. Mrs. Helen Thompson, executive secretary, American Symphony Orchestra League. Lucia Victor, stage manager, representative Actors Equity Association. Ralph Walker, architect, former president, American Institute of Architects. Mrs. Vanderbilt Webb, president, American Craftsmen's Council. Harold Weston, painter, past president, Federation Modern Painters & Sculptors. Elihu Winer, playwright, representative Writers Guild of America. William W. Wurster, architect, dean, Department of Architecture, UCLA. Dr. Edwin Ziegfeld, educator, Department of Art, Teachers College, representa- tive National Art Education Associates. William Zorach, sculptor. PAGENO="0313" AID TO FINE ARTS 305 DOCTJMENT D NATIONAL CONFERENCE ON THE ARTS AND GOVERNMENT Columbia University-June 1962 Tentative budget Expenses: Speakers, chairmen of study groups, discussion leaders, per diem and travel costs $4, Ø~J Salary of conference coordinator (about 14 year of time spread over 9 months) 4 Ø~ Salary of executive secretary (9 months) 4, 500 Typist (part time) 1, 000 Supplementary staff for 3 days of conference 500 Office supplies, telephone and telegraph, stamps, etc. (office space and accounting service provided by Columbia University) 3, 500 Printing and mimeographing: announcements describing conference; brochures; invitations; registrant cards; identification cards; etc. 4, 000 Stenotypists for plenary sessions 1,000 Report of conference: (a) Compensation for editor and his assistant (To condense speeches, coordinate study group reports, preface, introduction estimated with index, etc. 300 pages) 4, 000 (b) 1,500 copies report for free distribution (purchased by NCAG from Columbia University 6.000 Miscellaneous 1, ooo~ Total 33 500 Income: Registration fee of $10 including free copy subsequent report, mini- mum estimate 300 3, 000 Grant required by Columbia University to enable conference to be held 30,500 STATEMENT OP DAN LACY, MANAGING DIRECTOR, AMERICAN BOOK PUBLISHERS COUNCIL Mr. LAOY. I appreciate this opportunity to appear in these hearings to present our views on the various bills before this subcommittee, bills which have as their purpose, by one means or another, the encourage- ment of literature and the arts by the Federal Government. The American Book Publishers Council is the trade and profes- sional organization of the general book publishing industry in this country. Our 166 members include practically all the general com- mercial book publishing firms whose names are familiar to all of you-such houses as Doubleday, Harpers, Macmillan, Knopf, Viking, Harcourt Brace, Little Brown, and Bobbs-Merrill-about half of the university presses and several book clubs and publishers of popular priced paperbound editions. PAGENO="0314" 306 AID TO FiRE ARTS Rather tha.n proceeding immediately into a discussion of the indi- vidual bills under consideration, I think it might be helpful to begin with a general statement of our views regarding the problem of fhe rela.tionship of the Federal Government to the arts, and more particu- larly literature and the printed word generally. It is from this general philosophy that our views have developed on the individual measures under consideration. Let me say that these remarks do not apply to the separate subject of the relationship of State and local governments to the arts, which in some ways presents quite .a different problem. There are in general two ways in which the activities of the Federal Government may affect literature and the arts. The first is what might be called the direct way-deliberate measures of encouragement or discouragement. Examples may be found in the practice of many European countries: a ministry or bureau of fine arts; prizes, medals, awards and honors; financial encouragement in the form of stipends or pensions; Government financial support for theaters, opera com- panies and orchestras. The second is what might be called the indirect method-the shaping of legislation, governmental policy and admin- istrative activities which are directed to other major purposes so as to help or to hinder the development of literature and the arts. Exam- ples are the tax laws, the postal system, foreign trade regulations, and copyright. These indirect influences are frequently overlooked in discussions of Government and the arts, but they are very important in their total effect. In the United States our historical philosophy and practice has been to keep the Federal Governmei~t out of the field of direct in- fluences on the arts. So far as indirect influences are concerned, there has been a general disposition and willingness to shape legisla- tion and administrative action so as to help rather than hinder the development and enjoyment of the arts, and in many ways our record has been better in this respect than that of many other countries. This record has not been entirely consistent, although it has by and large been more favorable in recent years than in some earlier periods. A few specific examples may help to illustrate this point. In the area of copyright, which is basic to the development of liter- ature, the theater and music, the Constitution itself provided that Congress should have the power to enact legislation "to promote the progress of science and useful arts, by securing for a limited time to authors and inventors the exclusive right to all respective writings and discoveries." Despite this constitutional provision, throughout most of our national life we tended to lag somewhat behind European governments in our copyright legislation, especially in the important area of securing protection of the copyrighted works of Americans abroad by means of reciprocal international arrangements. Fortu- nately this era came to a close with the ratification of the Universal Coypright Convention by the United States in 1954. A number of important domestic copyright problems are, however, still outstand- ing. On postal laws-and the postal system is an indispensable means of distributing books, periodicals, and music-we have in some ways provided more encouragement within our boundaries than many Eu- ropean countries. Our international postal rates on published ma- terials, including music, have on the other hand been distinctly less favorable; but this discrepancy, too, is in process of being reduced. PAGENO="0315" AID TO FINE ARTS 307 Our import and export regulations have on the whole been liberal and have promoted the interchange of literature and artistic materials, although we have yet to implement the "Florence Agreement" ap- proved by the Senate in February 1960. Protected by the first amend- ment, we have been reasonably free of Federal censorship of the printed word. Our income tax laws on the other hand have been distinctly more burdensome on the income from literature and ar- tistic creation-income from copyrighted materials-than on income received from technical creation represented by patented inventions. I think that these examples, which by no means constitute a com- plete list, will suffice to illustrate that our national record on these indirect measures has been spotty but by no means bad on the whole and has been improving. Nevertheless, one of the bills before you, H.R. 4172, the proposed Federal Advisory Council on the Arts, would, we believe, be very helpful in improving the situation still further; and there are a number of important problems still outstanding. Such an advisory group would be able to identify and to point out those numerous areas in which Federal legislation and administrative action, often designed for quite different purposes, impinge unfavor- ably on literature and the arts. There is at present no Federal agency with an overall responsibility in this area, although in some respects existing agencies such as the Office of Education and the Library of Congress may be able to perform this function to some extent. But there is no specific watchdog for the arts comparable to the Depart- ment of Labor, the Department of Agriculture, the Department of Commerce and many other departments and agencies which in a sense "represent" various industries and professions in the Federal Government. With respect to direct measures to encourage the arts, various of which are incorporated in some of the bills under consideration which have been introduced in this and earlier sessions, we would have serious reservations about taking any major steps in this direction without very careful further study and consideration. I can do no better in stating these reservations than to quote from a book which appeared a few years ago, "The Literary Situation," by Malcolm Cowley, the well-known poet, literary critic, teacher, editor, and lecturer. In a chapter on the relationship of the Federal Government to the arts Mr. Cowley sums up the pros and cons of direct Federal support as follows: That Congress should establish a bureau of fine arts, with money to spend for literary prizes and fellowships, is a much more tempting notion, but there are a few serious arguments against it. One is that such a bureau would be involved in politics, with its prizes going to writers whose opinions were politically cor- rect at the time, and to another group of writers in the next administration. Another argument is the increased danger of Federal censorship; if Congress were spending money for literature, it would try to encourage some types of literature and might soon decide that other types should be penalized. Still another argument against such a bureau is that it might lead-the more influen- tial it became, the more surely it would lead-to an official school of art and an official theory of writing that all Americans would be expected to follow, as all Russian writers are expected to be socialist realists. I am a pluralist in questions of literary doctrine as in theories of government. I don't like to see too much power concentrated in one man or place or party or institution. The Federal Government is our greatest institution, but I should like to see its power counterbalanced by that of smaller institutions, not only State and local governments, but also the churches, the schools, the universities, PAGENO="0316" 308 MD TO FINE ARTS the newspapers, the magazines, the arts, and the different professions, each with its feeling of separate life, each with customs and standards that have the force of law in its separate domain. The literary profession is one of those domains, and I should like to see it enforce its own standards. In one sense the critics are its courts of law, but it is even more important for them to honor good writ- ing than to condemn cheap and careless writing; also the standards they enforce should be those of quality, not those of method or doctrine or political opinion. There should be many theories of literature and many centers of literary activity. If w-riters need financial help to do their best work-and many of them do need such help, because the rewards for distinguished writing are not always enough to sul)port them, and also because it takes a long time for a writer to become established-then the help should come from privately endowed institutions, at at present, rather than from the Federal Government. All that the w-riters can fairly ask of the Government is that it shouldn't discriminate against them. Notably, it shouldn't interfere with the institutions that have been helping them, nor should it try, as some congressional committees have been doing, to force universities and foundations into a great coordinated-gleichgeSchaltet was Hitler's word-system of correct mass opinion. We would in general subscribe to these views of Mr. Cowley and specifically we would recommend that the several plans for direct en- couragement of the arts incorporated in other bills be turned over for study and recommendation by the Federal Advisory Council on the Arts, which we believe should be established. In conclusion, our views may he briefly summarized as advocating the establishment of a Federal Advisory Council on the Arts with a large measure of independence, and the referral of other proposals for direct support of the arts to such a commission for study and recom- mendation as a first priority in its work. STATEMENT OP MRS. HORTENSE AMRAM, WEAVER, WASHINGTON, D.C. Mrs. AisinA~r. Mr. Chairman and members of the Committee on Special Education, my name is Hortense Amram. I am a practicing weaver and I live at 431 New Jersey Avenue SE., Washington, D.C. It is there, in my home, that I have my looms and weave the cloth and various other items that provide a part of my income. As a practitioner of one of the handcrafts, I have a deep interest in Congressman Thompson's H.R. 4172, to provide for the estab- lishment of a Federal Advisory Council on the Arts in the Depart- ment of Health, Education, and Welfare as recommended by President Eisenhower in several messages to the Congress in recent years. I wish to address myself to that portion of Congressman Thompson's bill which seeks to provide for recognition and encouragement of our American craft movement. I wish to commend Mr. Thompson for his insistence that the crafts be listed in the bill now before this committee. My own interest in this bill lies in its ability to increase the interest in, and recognition of, the importance of craft work among all our people. Creative work is well within the capacity of everyone, from kindergarten to old age. Witness the countless manifestations of this in the growing number of those practicing the many crafts now flour- ishing across the country. The strength of this urge to creativity is not only the deeply human one, but in our country it stems from a rich and varied tradition. The early Americans expressed their feeling for beauty in the crafts PAGENO="0317" AID TO FINE ARTS 309 they produced for their daily needs. For them a chair became a work of art.. Their handwoven coverlets, their decorated marriage contracts, their cooking utensils, these and a hundred other simple objects were made with such loving care that today we recognize them for the masterpieces they are and we cherish them in our greatest museums. The famous Index of American Design in the National Gallery of Art has, I think, something like 20,000 items representing the American crafts. The magnitude of our current interest in the craft arts is evidenced by the fact that approximately $135 million was spent in 1956 for materials used in craftwork. Manufacturers are anticipating an increase in this amount for 1957. This figure refers only to mate- rials used and does not include the vast sums spent on tools and asso- ciated items necessary to weave, to make ceramics, and so on, to pro- vide which a billion-dollar industry has been established. In addition, the publication of books and articles dealing largely with instruction in the techniques o~ the crafts has also become a large industry employ- ing many people. Some of the books on the crafts have actually be- come best sellers. Craft magazines are forging ahead steadily both in number of subscribers and in the actual number of magazines pub- lished. Outstanding among these are Craft Horizons, Handweaver & Craftsman, Ceramics, the Cross-Country Craftsman, and Design. There are, too, such publications as School Arts and Arts and Ac- tivities, which are primarily directed to the teachers of these subjects. The teachers have their national organizations, the principal one being the National Art Education Association, a department of the National Education Association. In addition to education, the craftwork today shows three distinct manifestations: vocational, recreational, and therapeutic. For in- stance, in the vocational field there has recently been noted a tre- mendous increase in the sale of handmade articles for use in homes, as well as wearing apparel. In many shops, such items make up quite a large part of their stock. An increasing number of craft workers are either supporting themselves or adding to their income by their productions. Quite a number have established important businesses, hiring other craftsmen. Craft groups working together are to be found across the country. But the largest and most important pro- fessional groups in this work consists of the regular teachers of craft subjects in the schools, colleges, universities, and specialized groups. The summer 1957 issue of Handweaver & Craftsman lists the Fourth Annual Handweaving Conference held at the University of Kansas, in April; the League of New Hamphsire Arts and Crafts and such related activities as the annual Craftsmen's Fair at the Belknap Mountain Recreation Area, at Guilford, in August, which now attracts thousands of visitors each year and results in five-figure sales; the handweaving course at Mills College, Oakland, Calif., established in 1944; the Northwest Conference of Handweavers jointly sponsored by the Seattle, Wash., Weavers Guild and the University of Wash- ington's School of Art and Home Economics at the university in Seattle, to which come more than 400 weavers from all over the country; the Craftsmen's Fair of the Southern Highlands at Ashe- ville, N.C.; the Museum of International Folk Art at Santa Fe, N. Mex.; the Virginia Highlands Festival at Abingdon, Va.; the PAGENO="0318" 310 AID TO FINE ARTS Fourth Ozark Arts and Crafts Fair at War Eagle, and many others, including ceramics and other crafts. In the recreational field lies the largest group numerically of craft workers. So large is this group that it certainly merits the help and attention of such a commission as Congressman Thompson's measure would establish. Notable in this field are the retired elderly people. Craftwork for this group is contributing one of the outstanding solutions for their social and psychological problems. Witness the success of the Sunshine IJniversity, in Florida, established originally for a few retired individuals, but which already has an enrollment in the thousands, although they have been specializing in weaving and ceramics only. National social and recreational groups whose programs emphasize the various crafts include the Boy Scouts, the Girl Scouts, Camp Fire, Boys and Girls Clubs, YMCA, YWCA, YMHA, YWHA, Ameri- can Red Cross, American Craftsmen's Council which includes ~O- odd National, State, regional, and local groups; the 4-H Clubs; and others. The morale and welfare services of the Army, Navy, Air Force, and Marine Corps provide arts and crafts an an integral part of the off-duty recreation services provided enlisted men, officer per- sonnel, and their families. Occupational therapy has demonstrated the value of creative craft- work in the treatment and cure of physical and mental illness. All homes for the aged, Veterans' Administration hospitals, industrial hospitals and other hospitals, and hospitals for the Armed Forces now have established craft centers and hobby shops. One other activity in the field of craft a.rt must be mentioned: that of exhibitions. The impressive list of these and the great number of those who attend them are indicative of the importance this work is assuming in our daily life. Not only are these exhibitions making fine work known to our people, but the U.S. Information Agency has sent quite a number of important exhibitions. of American craft- work abroad. These shows have been developed by the Smithsonian Institution and private organizations for the U.S. Information Agency. Early in June, craftsmen, educators, and other leaders in this field from all over the country attended the First Annual Con- ference of American Craftsmen, in Asilomar, Calif. The conference was held under the sponsorship of the American Craftsmen's Council which last year opened a great Museum of Contemporary Crafts in New York City at 29 West 53d Street. This is a permanent year- round museum devoted solely to the craft arts. It seems evident to me, therefore, that this extraordinary growth of interest in this form of art calls for the recognition and encourage- ment that a Federal commission could give. Such an agency would not only strengthen this ground swell of interest, but provide a foun- dation for a tremendous renascence and flowering of the craft arts in our country. I thank you for the courtesy you have shown me in hearing my statement. PAGENO="0319" AID TO FINE ARTS 311 STATEMENT OF DR. FREDERICK PALL, FORMER DIRECTOR, U.S. DEPARTMENT OF AGRICULTURE SYMPHONY ORCHESTRA; DI- RECTOR AND CONDUCTOR OP OPERA ACTIVITIES OP THE DIS- TRICT OP COLUMBIA RECREATION DEPAR~tMENT; FORMER MUSIC DIRECTOR FOR U.S. ARMY OP OCCUPATION IN AUSTRIA Dr. FALL. Mr. Chairman and members of the subcommittee, I am Dr. Frederick Fall, of 1771 Church Street NW., Washington, D.C. I was born in Vienna, Austria, where I studied music and was grad- uated from the State Academy of Music and Fine Arts. Before coming to the United States I was conductor of various major opera companies in Germany, Czechoslovakia, and finally con- ductor in chief of the Vienna Volksoper. I also conducted symphony concerts with practically all of the major European symphony orches- tras. In this country I have conducted concerts in New York, Phila- delphia, Boston, New Orleans, and Dallas. After the Second World War I was music officer for the Austrian Occupation Zone under Gen. Mark Clark. For 10 years I conducted the Agriculture Symphony Orchestra of the U.S. Department of Agriculture here in the Nation's Capital. I reorganized this orchestra in 1949, and it is now considered by many to be one of the country's outstanding amateur orchestras. Also, I am director and producer, as well as conductor, of the opera productions of the District of Columbia Recreation Department. We have annually produced a major opera for the last several years; the Medium and the Telephone; Madame Butterfly; the Merry Wi- dow; Hansel and Gretel; Tales of Hoffman; the Student Prince; the Bartered Bride; and the Gypsy Baron. If anyone thinks, these pro- ductions, involving in some instances 120 people, do not require a vast amount of hard work and discipline, then they don't know any- thing about opera production. Both the Agriculture Department's symphony orchestra and the District of Columbia Recreation Department's opera productions use preponderantly musicians, singers, stagecraft workers, production helpers, and so on who do not make their living with music, singing, acting, or in the theater, but who use these media to give meaning to their leisure time. Such activities are splendid examples of the cre- ative and constructive use of leisure time. There are too many people to whom leisure time is synonymous with time spent aimlessly-this, in my opinion, is one of the major reasons for delinquency, both juve- nile and adult. A fine example of the constructive use of leisure time follows: I conducted a homegrown, grassroots, locally produced opera, with local singers, at the Watergate to an audience of 10,000 avid listeners. This was one of the largest audiences of the Watergate season. Spon- sors of this event were the District of Columbia Recreation Depart- PAGENO="0320" 312 AID TO i~'i~ ARTS ment and the music performance trust fund of the American Fed- eration of Musicians, Local 161, of Washington, D.C. The singers were what are called amateurs. That does not mean that the music achievements are not of the highest standards. It shows good use of leisure time, and I am sure all those singers enjoyed the experience and did not mind the many hours they put in the production. My experience leads me to conclude that one of the important things that the Federal Advisory Council on the Arts must do, when it is established, is to advise on how to use the arts practically to give meaning and direction to the vast amount of leisure time that our highly productive economy is making available. It can recommend ways to encourage the making of great music and the other arts by the people themselves. The level of a culture is determined not alone by the great con- certs in the concert halls. It is determined quite as much by the music the young people love; it is determined by the music the people sing, by the music they whistle, the music they hum. It is determined by the houses they live in, the books they read, the paintings and the sculpture with which they surround themselves. It is determined by the depths of their regard for creative artists. It is determined by the extent of their patronage of the arts. A Federal Advisory Council on the Arts in the Department of Health, Education, and Welfare can recommend and advise ways of aiding and guiding the public to a full awareness of the vast riches of their cultural heritage, and thus help in the development of a wiser, healthier, better-balanced, and a maturer people. Music and other arts are increasingly appreciated and practiced in our country. It has been noted by Reader's Digest, the Saturday Evening Post, Time and Life magazines, and other national publica- tions that Americans are turning to the arts in constantly greater numbers. Paid admissions to concerts in this country are greater by $5 millions than paid admissions to baseball. Over 30 million people pay to hear good music every year. The sales of classical records is about $60 million a year. More people hear the Boston Symphony Orchestra in a single con- cert on the radio than could hear it in Carnegie Hall in 110 years of concert going. Radio and television bring great drama, music, ballet, opera to many millions of our people each week. The great art movies of Hollywood, such as "Au American in Paris," and "Invitation to the Dance," play to audiences of 50 millions and their box-office appeal is as great or greater than those productions of lower quality such as "Forever Amber." These figures speak eloquently for the increasingly greater interest in the arts, but it isn't enough. PAGENO="0321" AID TO FINE ARTS 313 In Europe the governments of our times have assumed the patronage of the arts from the courts, the princes, and the church. The high development of music, drama, ballet, and of the Beethovens, the Qoethes, the Dantes, the Shakespeares, the Michelangelos, the Pa Vincis, the Hans Christian Andersons-these did not spring untended from a hostile soil. * They were the product of an education and an environment that was sympathetic, that was constantly helpful, that honored the in- dustrious and able youngster, the budding painter, the coming poet, the developing musician, dancer, weaver, and sculptor. Many young people tried, and many failed but the talented young people found patrons, they found encouragement, they were prodded, they were driven, rewarded, and they kept on trying. The great artists that developed out of this rich soil lifted mankind on wings of song, and mankind was enobled when beauty was created such as was never known before, with the new songs, the new paintings, the ever extend- ing vision of the artists. The greatest single thing the Federal Advisory Council on the Arts caii. do, in my opinion, is to give new stature to the arts, and increased status to the artists. It can give art and the artist the recognition they need when they are young, when they need it most. It can recommend ways to encour- age the artist,to forge ahead, to be creative. It can advise us on ways to enrich the soil, to nurture the young, to help them to go forward The arts ennoble, they uplift, they give the people vision, and a people without vision will surely perish. The Federal Advisory Council which Congressman Thompson's bill, IELR. 4172, would establish can, show the way to a maturer and happier people, a people which will make the United States the cul- tural center of the world. Mr. THOMPSON. We will now hear from Congressman Harris B. McDowell of Delaware. STATEMENT OP HON HARRIS B McDOWELL, JR, A REPRESENTA TIVE IN CONGRESS PROM THE STATE OP DELAWARE Mr MOID0wELL Mr Thompson and members of the subcommittee, I appear in support of the bill offered .by'Congressman Frank Thomp- * son, Jr., and several other, Members of Congress from both parties to establish a Federal Advisory Council on the Arts 70259-61-21 PAGENO="0322" 314 AID TO FINE ARTS In his 1955 message on the State of the Union to the Congress the then President of the United States, Dwight P. Eisenhower, called for the establishment of such a Federal arts agency and he declared that-fl--- In the advancement of the various activities which will make our civilization endure and flourish, the Federal Government should do more to give official rec- ognition to the importance of the arts and other cultural activities. In June 1960, Secretary of the Department of Health, Education, and Welfare, Arthur S. Flemming, one of the Nation's top educators, told the House Education Committee that- there is inadequate recognition of the fundamental importance of artistic en- deavor in our national life. He declared that- The development of cultural and artistic interests serves a dual purpose, in that it contributes to the well-being of the individual by developing his creative abilities, and at the same time, it enables the individual to further enrich our civilization. Then Secretary Flemming made this significant point: I feel that if the Congress did act favorably on this proposal (to establish a Federal Advisory Council on the Arts), it would do a great deal in the direction of strengthening education in the arts, both at the secondary level and at the level of higher education. That is, it would give added encouragement to the efforts which are being made along this line. Personally, growing out of my own experience in the field of education, I think we should put added emphasis on education in the arts. I think of it not only from the standpoint of the contribution which educational programs will make to the arts, but I emphasize it because I feel when people have the opportunity of participating in educational programs in the arts, it tends to stimulate the de- velopuient of their creative abilities, and that those creative abilities will then show themselves and reflect themselves not only in the arts but in everything they do. Secretary Flemming made it clear to the committee that while he continued to favor an emphasis on science in the curriculum he also felt that "we need to put. emphasis in other areas" such a.s the fine arts. The point was made by him, as well as by other witnesses, that many of our engineering and scientific schools, for instance, the Massa- chusetts Institute of Technology, 30 percent of each student's activities are devoted to the fine arts and literature. Our scientists must be able* to communicate, and they must have a grasp of the culture andeiviliza- tion of the Nation which they are working to advance, enlarge, and preserve. Here are Secretary Flemming's exact words: Certainly, as we think In terms of stimulating and strengthening education in such areas as the sciences and engineering, which we certainly do, I do not think we should overlook the importance of strengthening educational pro- grams in areas such as this (the arts) because, as I have indicated, I believe if we do it will pay dividends in terms of what happens in the sciences, in engineering, and so on. PAGENO="0323" AID TO FINE ARTS 315 The school of arts and science at the University of Delaware has shown a special awareness of the importance of educating the whole man. I am proud of its work, and I wish to take this occasion to commend Dr. G. Bruce Dearing, dean, school of arts and science and his colleagues for their contributions in building one of the more sig- nificant universities in our country. The work of Prof. Charles Robert Kase, head of the drama department, Prof. Anthony J. Loudis, head of the music department, Profs. Augustine Henry Able, II, and Ned Bliss Allen of the English department, and Prof. Alan Gowans of the art department, is well-known far beyond the borders of the first State. The need of the arts by the one-third of our Nation which is econom- ically underprivileged is strikingly illustrated by the following ex- cerpt from a memorandum submitted on July 22, 1960, by Bernard W. Scholz, Chief, Public Assistance Division to the Director of the Dis- trict of Columbia Department of Public Welfare in connection with the "second precinct rehabilitation project" in the heart of the Nation's Capital: (Excerpt from a memorandum submitted on July 22, 1960, by Bernard W~ Scholz, Chief, Public Assistance Division to the Director of the District of Columbia Department of Public Welfare, in connection with the "second pre- cinct rehabilitation project") V `~\Thile this program is underway for the second precinct's youth, what about the adults whose actions and example will continue to influence the young, even while every effort is being made to orient these children in a positive direction? What can be done to reorient the adults from an emptiness wrought of ex- haustion, defeat, and resentment that finds release only in dope, alcohol, vice, and lawlessness, to an attitude of hope, a will to achieve, and acceptance of community standards, a willingness to conform and a sense of belonging? As in the case of the younger people, the older ones are vitally affected by what they perceive the community's attitude concerning them to be. Just as the auto dump on Sixth Street, established inthe midst of a residentiaL section by their city's government (one act that did not take congressional approval) is a clear demonstration of what the community thinks of them as. citizens and homeowners, so is the flight of business and the blight on Seventh Street clear evidence that economically they do not rate, as contrasted to their white neighbors in the suburbs. The community may provide many free services to the general population, but to these underprivileged ones, the descamisados of Washington, they are out of reach: They don't have the shoes, the clothes, the manners-that would make them comfortable and give them a "sense of belonging" in these com- munity facilities. The free city library is right in the second precinct, but people of this neigh- borhood would hardly be found within its austere walls. Yet most of them cam read-and many would read, if only reading was brought within easy reach of them. There should be small, informal branch libraries scattered throughout the second precinct where people can quietly sit, smoke, and read the paper- back editions of good literature. If such books get soiled, torn, taken home-what would it matter? The main thing is that some refuge would be established from the drabneas of their own homes-that through these books a door might be opened to a new worIciL Could lectures be added-films-discussions? Here could be the beginning of a very informal, rudimentary adult education process-but it must be taken to the people and offered wide open, without registration, without fees, without formality. PAGENO="0324" 316 AID TO FINE ARTS The National Gallery is right at the foot of Sixth Street, just a few blocks from the second precinct, but hardly would its shabby citizens venture into, those pretentious marble halls. Yet this museum is stuffed with surplus paintings that are considered minor works of the great masters whose masterpieces are on exhibit. How easy it would be to bring good art to the people up the street-to hang in the branch libraries just half a dozen pieces of good art, to keep changing them on a rotating basis-to let these people who have never been touched by beauty realize that there is something beyond the Sunday supplement `and the dirty sketches scrawled on the walls of tenement hallways. A large number of the citizens of the second precinct readily enjoy music. Yet they would not be the ones to sit on the free steps, of the Watergate or listen in crowded silence to the band concerts on the Capitol Plaza. Again, it would have to be the community that shows them that it cares by bringing the chance for community music to them. Just as with the Welsh Miners, the German Turners and many other groups of no high pretentions, such as our own Barber Shop Quartet Singers, the people of the second precinct could be guided to make their own music, to do `their own singing, `and playing, to find beauty and re- laxation and an emotional outlet in something they themselves create. Finally, there is a `terrible spiritual void in the lives of these people who have drifted away from the large denominations in whose stately churches and dressed- up Sunday crowds they felt unwanted and out of place. The many store-front churches and the gaudy House of Worship for all the people of Sweet Daddy Grace in the heart of the second precinct, all testify to the groping spiritual need of the people in this area. They would seem to be more than ready for home- missionary work by the large denomtnational churches which, in addition to bringing `these people a message of hope ;and a moral yardstick for their daily lives, would thereby offer concrete proof that `the community cares. I include as part of my remarks a speech on the arts which was de- livereci to the' 36th annual meeting of the Na.t~onal Association of Schools of Music `at the Palmer House, Chicago, `Ill., on November 26,1960. I also include a study' by the Library of Congress of support for. the arts by some 50 cities in the `United States, and several items from the Congressional Record on the'arts. (The matter referred to follows,:) [From the Congressional Record Appendix, Sept. 14, 19~9} THE LIBRARY OF CONGRESS, Washington, D.C., Jul'y 30,1959. To: Hon. HARRIS B. MCDOWELL (attentionMr. Pram.) ` From: Education and Public Welfare Division. ` Subject: Municipal financial support of certain artistic and cultural activities in selected U.S. cities. This is in' reply to your request of Fune 23, 19~9, for information concerning municipal support of artistic endeavors and cultural activities and to describe the mechanics of this type of support. , Your request `also states that, you are especially interested in determining what cities,, if any, earmark a certain portion of their taxes for use in supporting artistic and "cultural endeavors and how the amounts set aside by the larger cities compare with the $16 000 for cultural and art purposes in the D.O..Recreation Department budget. ,,` , PAGENO="0325" AID TO FINE ARTS 31T The following table represents a brief summary Qf answers to letters, which we recently sent to chief finance officers in selected U.S. cities, requesting certain information about municipal financial support of artistic and cultural activities. The 56 cities selected to receive copies of our letter were chosen on the basis of their population size (as indicated in the 1950 Bureau of the Census report) or because they were known to give municipal financial support to certain artistic or cultural activities. Number of letters sent Number of replies to date (July 30, 1959) 38 Number of cities which indicated current support of artistic and cultural activities 34 Number of cities which indicated the lack of any current support of this type_ 4 Number of cities which indicated thi~t a certain portion of taxes are set aside for such support (Evansville, md., and St. Louis, Mo.) 2 For the most part, letters received from the cities deal with: (1) sources of funds (i.e., general revenues, taxes earmarked for such purposes, etc.); (2) the artistic and cultUral activities, organizations, institutions, buildings, etc., which receive municipal funds; (3) the amount of municipal funds expended for such purposes; and (4) how such funds are allocated to- the various municipally supported fine arts and other cultural programs With respect to your inquiry conceining Washington D C s $16 000 recreation budget appropriation for cultural and art purposes, the enclosed chart indicates con- siderably higher appropriations by most other large cities. In preparing the enclosed chart we have attempted to limit the facts and figures included to those which seem most pertinent to the nature of your request. Information contained in the responses from. the cities has been presented as we received it. DUe to the lack of uniformity of methods of an- swering our questions, no attempt has been made to interpret the facts contained in the letters. Furthermore, since a definition of the phrase "cultural activities" was not included in our letter to the cities, some of the information received and also listed on the enclosed chart may be extraneous to your purposes, depending on how one defines "cultural activities." In general, we have omitted the following types of activity from inclusion in this chart: Libraries and certain library fine arts programs (unless the. latter were specifically mentioned), historical societies, academies of sciences, institutes (unless specifically called "art institute"), certain arts and crafts programs of recreation departments, plane- tariums, aquariums, zoological parks, botanical gardens, etc., societies of natural sciences, spring fiestas, and certain types of indirect assistance given by city, such as use of staff, office space, etc. (unless specifically mentioned in letters). We hope that this information and the accompanying chart will be helpful. HELEN A. MILLER, ANNE M. FINNEGAN. PAGENO="0326" EXHIBIT A 1 or 3 parts of a $100,000 recreation program- General fund (part of "recreation program"). - -. $7,500 General fund $8,000 do ~1~. sio,ooo do 1959 appropriations: $25,594 $119,994 $288,000 $15,000 $90,000 (this year's appropriation) Appropriated in 1958-59: $73,430 $30,000 $27,300 Calendar year 1958: $232,405.87 $232,369.11 do do Endowment funds (estimated income) General funds (pensions) General funds Real estate tax and other current revenues do do Payments from Chicago Park District, an inde- pendent municipal corporation in the city of Chicago. do 1959-GO gross appropriation, $543,081 1959 contribution, $9,200 Proposed budget for 1980, $18,400 1959 contribution, $9,200 Proposed budget for 1960, $18,400 $12,500 (provided for in annual budget) - - - $19,500 $20,000 $3,000 $25,000 M~nicipal financial support of certain artistic and cultural activities in selected U.S. cities, a compilation of an8wers lo a ~uestion~aire $36,000 $5,000,000 City Amount of municipal financial support Source of municipal financial support Type of activity supported Akron, Ohio Atlanta, Ga Baltimore, Md Birmingham Ala Buffalo, N.Y' Chicago, Ill General fund (indirect support In lieu of tax for facility). Direct tax construction cost Art museum. Plans for the construction of a municipal audi- torium and "cultural grouping for arts, library and arena." Band concerts. Atlanta Symphony Guild. Atlanta Pops Concert. Municipal Theater Under-the-Stars. Atlanta Art Association for Benefit 111gb Mu- seum and School of Art. Municipal Museum. Bureau of Music. }Walters Art Gallery. Birmingham Museum of Art. Dallas, Tex $80,000 - Detroit, l'vlich Evansville, md Hagerstown, Md Houston, Tex $232,405.92 do Art Institute of Chicago. ~~4 0 Albrlght Art Gallery. 4 Buffalo Philharmonic Orchestra Society, Inc. t~1 Kleinhans Music Hall. C12 Museum of Science and Industry. Chicago Natural History Museum (Field Mu- seum). Fine Arts Museum. Arts Commission. Evansville Museum of Arts and Sciences. General revenues, "the major part of which Is ad valorem tax." Local taxes, grants and gifts, and revemses Civil City of Evansville School City of Evansville I Do. General revenues Washington County Museum of Fine Arts. do Museum of Natural History. do Museum of Fine Arts. do Civic Theatre. do Houston Symphony. PAGENO="0327" Los Angeles, Calif Newark, N.J New Oileans, La For fiscal year ended Apr. 30, 1959: $21,211 $48,231 $33,592 Appropriation for fiscal 1959-60: $196,998.... 1959 appropriation: $525,426 $40,000 annually Appropriated "this year": $5,000 $2,500 $875 $944,525 (operating budget, July 1, 1959, to June 30, 1960). $904,989 (capital budget, Jan. 1, 1959, to Dec. 31, 1959). $1,329,559 (operating budget, July 1, 1959, to June 30, 1960). $1,071,985 (capital budget, Jan. 1, 1959, to Dec. 31, 1959). $125,140 (operating budget, July 1, 1959, to June 30, 1960). $95,866 (operating budget, July 1, 1959, to June 30, 1960). $69,510 (capital budget, Jan. 1, 1959, to Dec. 31, 1959). $127,000 (operating budget, July 1, 1959, to June 30, 1960). $50,250 (capital budget, Jan. 1, 1959, to Dec. 31, 1959). $2,000 $69,083 1958-59:. Salaries for a professional staff of 6 plus $2,000 allowance for books and $500 for pictures. $70,377 $57,212 $31,577 $25,000 $75,000 $25,000 $624,760 $30,000 $10,000 General fund do General revenues Tax and general revenues Appropriated by city do do do Tax levy and general fund revenues Capital allocations Capital allocations Tax levy and general fund revenues Capital allocations Tax levy and general fund revenues Capital allocations General revenue do Annual appropriations by city council to library department from which library and museums commission adopts an operating budget. do do do General revenues do do do do do Nelson Art Gallery (buildings and ground main- tenance). Philharmonic Orchestra (free rent). Starlight Theater (debt service for facility devel- oped by park department). Museum (buildings and ground maintenance). Liberty Memorial (operation and maintenance). Department of.municipal art: bureau of music. Newark Museum. Delgado Museum of Art. New Orleans Philharmonic Society. New Orleans Opera House Association. Crescent City Concerts. Metropolitan Museum of Art. Do. Brooklyn Institute of Arts and Children's Museum. Brooklyn Institute of Brooklyn~ Academy of Music. Do. Museum of the City of New York. Norfolk Symphony Orchestra. CI) Norfolk Museum of Arts and Sciences. Art and pictures department of main library. Oakland Public Museum. Art Museum. Snow Museum. Academy of Fine Arts. Robin Hood Dell. Philadelphia Grand Opera. Philadelphia Art Museum and Rodin Museum. Johnson paintings. Philadelphia Art Festival (every 2 years). Kansas City, Mo $9,925 General fund $42,830 General debt and Interest fund General fund; park funds New York, N.Y Norfolk, Va Oakland, Calif Philadelphia, Pa See footnotes at end of table. Tax levy and general fund revenues American Museum of Natural History. H 0 ~Tj z t?1 PAGENO="0328" EXHIBIT A-Continued Richmond, Va Rochester, N.Y $20,000 to $30,000 (annually) $25,000 (approximate cost to city annually) Current appropriations: $24,877 $1,500 $140,000 (approximate expenditures for 1950). $3,028 (1959) $5,000 1959-00 expenditures: $10,000 $20,000 Not indicated 1959-60 budget amounts: $4,500 $4,000 $66,866 $17,000 1958 revenue: $320,007.53 1959 city budget appropriations: $13,500 $10,000 $81,000 (approximate budget for ensuing year). $81,000 $1,500 1959-60 city budget: $57,159 $19,289 $48,715 $45,949 $10,000 do General revenues (budgeted annually according to estimated needs). do Direct appropriation General revenues or real estate taxes do Not indicated General ad valorem taxes do do do Permanent levy of $0.02 per $100 valuation on all real and personal property (established under State law in 1907). Appropriations "financed as part of the overall city budget." do Supported primarily by general fund do ..~do General revenues do do do do Pittsburgh Symphony. Free summer band concerts. Arts and Crafts Center. Museum in Roger Williams Park. Band concerts. Recreation Bureau (sponsors orchestra, Nature Museum, etc.). Bureau qf parks weekly band concerts. Valentine Museum. Civic Music Association. "Opera Under the Stars." Museum. Philharmonic Orchestra. Park hand concerts. Crockcr Art Gallery (city owned). Children's art and dancing classes (city recrea- tion~department). St. Louis Art Museum. St. Paul Gallery and School of Art. St. Paul Civic Opera. Witte Museum. 2 municipal au~litoriums. San Pedro Playhouse (auditorium devoted pri- marily to theatrical productions). Fine Arts Gallery. Serra Museum (local history). Natural History Museum. Museum of Man (anthropology). San Diego Symphony. Municipal financial support of certain artistic and cultural activities in selected U.S. cities, a compilation of answers to a questionnaire- Con. Pittsburgh, Pa Providence, R.I Reading, Pa City Amount of municipal financial support Source of municipal financial support Type of activity supported General revenues (through specific appropria- tions each year) do do Sacramento, Calif St. Louis, Mo St. Paul, Minn San Antonio, Tex San Diego, Calif 0 L~i PAGENO="0329" .195~-59 budget: $158,365 (taxes, $120,665; other, $37,700) Budget of the city ~nd county of San I~rancisco__ $35,493 (taxes) .__do....~ $255,456 (taxes, $254,856; other, $600) do $367,942 (taxes, $367,602; other, $250)_.... .___do An average of about $28,740 per annum over the past 10 years. $233.37 114 00715 $18,000 $62,743.57 $33,127.93 $31,092.45 $18,161.40 do_ .___do General tax revenues do .___do ...._do $1,267 Not indicated S~n Francisco, Calif Scranton, Pa Seattle, Wash Springfield, Mass.2 Syracuse, N.Y General funds City's annual budget funds without regard to income source. $25,000 appropriatIon annually Gennal tax levy `City budget for 1960 based on 1 cent per $100 valuation of the city. Funds provided by taxes earmarked for this specific purpose. 2 Included in the library budget is the position of musical adviser, which is the way. in which the city contributes to the salary of the conductor of the Springfield Sym- phony Orchestra. Art Commission. War Memorial Art MuseUm. California Palace of the Legion of Honor (art museum). De Young (art) Museum. Everhart Museum. Art Commission. Art Museum. Public Music. Art division of the library departdaent. Museum of Natural History. George Walter Vincent Smith Museum. William Pynchon Memorial (connecticut Val-. by Historical Museum). Springfield Museum of Fine Arts. Fine arts department of library., Syracuse Museum of Fine Arts (privately char- ~. tered institution). A Source: Compiled by Anne M. Finnegan and Helen A. Miller, Education and Public Welfare Division, Legislative Reference Service, Library of Congress, July 29, 1959. PAGENO="0330" 322 AID TO FINE ARTS [From the Congressional Reeord-~Appendix, Feb. 15, 1960] THE MUNICIPAl. GOVERNMENT OF WASHINGTON, D.C., STARVES THE FINE ARTS AT THE VmiY TIME THE SOVIRE UNION Is SPENDING VAST SUMS To PROVE AMmar- CANS Ars CULTURELESS BARBARIANS (Extension of remarks of Hon. Harris B. McDowell, Jr., of Delaware, in the House of Representatives, Monday, February 15, 1960) Mr. McDowELr.. Mr. Speaker, a distinguished citizen of Delaware, and one of the country's leading architects, Samuel -E. Homsey, has written me to say that Communist countries are spending vast sums of propaganda to prove that Americans are cultureless barbarians. It is important to note, in this connection, that a study made at my request by the Library of Congress shows that the municipal government of Washing- ton, D.C., spends less money on the fine arts than any other major U.S. city. The Board of Commissioners of the District of Columbia seems content to let the Federal Government or private benefactors support the arts. Such a course would be unthinkable in any European capital city or, indeed, even in any large provincial city in Europe or the U.S.S.R. The Library of Congress reported on the financial support given the fine arts by 38 U.S. cities: Baltimore, for instance, gives $448,588; Philadelphia $789,760; St. Louis, $320,007; Los Angeles, $196,998; Kansas City $155,789; San Francisco $817,256; and New York City $4,718,824. The study showed Washington, D.C., which is considerably larger-and richer per capita-than San Francisco, gives only $16,000 to the fine arts. This sum compares favor- ably only with the $12,500 which Hagerstown, Md., gives to the fine arts. In a provocative article entitled "In Culture, Is Washington a Hick Town?" by its distinguished music critic, Howard Taubman, the New York Times said on December27, 1959: "Compare Washington with a small capital like Brussels, which has opera, ballet, orchestra, theaters and a highly cultivated population, and the outcome is to our discredit. Compare Washington with a provincial town like Tiffis, more than a thousand miles from Moscow. The Soviet city beyond the Caucasus has an opera house, a ballet, four professional theaters, several children's theaters and a proud cultural tradition." I have cosponsored with Senator Hubert H. Humphrey, of Minnesota, a bill to provide that I mill out of each $1 of tax revenue of the government of the District of Columbia be set aside in a special fund to defray in part the expenses of the National Symphony Orchestra, the Corcoran Gallery of Art, the Washington Opera Society, and other nonprofit art and cultural programs of the Nation's CapitaL In introducing a companion measure to my bill in the Senate, which has been cosponsored in the House by our able colleague, the gentleman from New Jersey [Mr. Thompson], and others, Senator Humphrey said: "Throughout my service in the Senate, I have consistently supported measures to improve the city of Washington and to make it an even more beautiful and pleasant city in which to live. I shall continue to support such programs because I believe it is in the best interest not only of the city of Washington but the United States itself. After all, Washington is a picture window through which the people of other nations look and draw their judgments about America. Wash- ington should represent the artistic and cultural aspirations of the American people. Unfortunately, all too little has been done to promote the arts in the Nation's Capital." I include as part of my remarks the New York Times article entitled "In Cul- ture, Is Washington a Hick Town ?" "IN CULTURE, Is WASHINGTON A 1110K Tows ?-As THE NATIoN's CAPITAL AND A WORLD CAPITAL, WITH Visrroas FRoM Evrav LAND, IT MUST, IT Is ARGUED, BE- COME A SHOwPLACE OF THE BEST WE HAVE To OFFER "(By Howard Taubman) "WASHINGT0N.-The indictment is often made: Washington is a hick town cul- turally. Residents of the Capital and its environs respond indignantly that this is a canard invented by supercilious New Yorkers and envious foreigners. They marshal evidence and arguments in defense. Their voices rise,, their emO- tions become involved. Are they sensitive about the charge? You `bet thOy are. PAGENO="0331" AID TO FINE ARTS 323 If they weren't, they add, would Washington have made the cultural advances scored in iecent years'~ What is the truth ~ Is Washington a hick tow n or a world capital when it comes to culture? No one can seriously assert that the city exercises any in- fluence in the arts that compares even remotely with the~ shadow it casts in politics and economics. No one can dispute the thesis that compared with capitals like London, Paris, and Moscow, the American Capital is a provincial community in the arts. "It is unjust, Washingtonians protest, to equate their city with such capitals as London, Paris, and Moscow, because they are world metropolitan centers com- parable with New York. But it is not that easy to clear Washington of cultural responsibility. At home and abroad it bulks as a great international center. "Throughout the year hordes of sightseers invade Washington. They come from every part of the country, in family groups, in fraternal and civic delega- tions, in school units. They make the stations of the national monuments. They gape at the buildings, for the greater part, so unvaried, ponderous, and official. Nevertheless, they bring respect and affection. They are moved by the city's closeness to the history that is their heritage. They even poke into the museums. Watch them in the National Gallery-groups of plain Americans standing before some of the great masterpieces the Western World has produced. They may not grasp the nuances of achievement, but they are stirred by the works of art. For many it is a first encounter with an original of Raphael or Rembrandt. "As the Nation's Capitol, Washington has another mission besides being a tourist center. It is the city to which the diplomats of nations around the globe are sent. It is the city to which heads of foreign states, great and small, come to visit and negotiate, and so do their ministers, parliamentary leaders, military men, and other principal government servants. It is the city which provides foreigners with an official image Of the United States. "There is awareness of this truth in the effort of Government leaders, residents of Washington and interested citizens elsewhere to obtain a national culture ceii- ter for the Capital. Congress has authorized such a development, the architec- tural plans were made public recently, and a nationwide campaign for $61 million will soon be launched. "Everyone agrees that Washington is no longer a village, set implausibly on a dank flatland beside a tidal river to make sure that local interests would not exert too great a pull on the Federal Government. It has grown not only into the cen- tral seat of a world power but also into a big city. Metropolitan Washington, which includes the city proper and the bedroom communities in Maryland and Virginia, has a population of about 2 million and is expanding so rapidly that it is expected almost to double its size within the next two decades. It is big enough to have its own major league baseball and football teams. What has it to show in a cultural balance sheet? "In the plastic and graphic arts it has cause for satisfaction. Its public muse- ums and its privately run galleries provide a lively representation of the classics and the contemporary scene. Institutions like the National Gallery, with its splendid collection; the Corcoran Gallery, the Phillips Gallery and the Institute of Contemporary Art have varied services that cover not only painting and sculpture but also music, lectures, and films. "In music the rating is variable. The National Symphony is a vigorous, ambitious ensemble, not yet first rate but steadily improving. The opera society is capable and aims high as far as it goes, but it is merely a brave beginning. Chamber music is abundant and of high quality, thanks to endowments entrusted to the Library of Congress. There are concerts by touring attractions, pro- grams in the churches and schools, amateur events in town and out in the suburbs. "In the dance there is very little. The Washington Ballet, which was begun a couple of years ago, is still in the formative stages and ventures on an occa- sional performance. Otherwise, dependence is largely on visiting companies. "In the theater the record is poor. If it were not for the Arena stage, it would be miserable. There is only one other home for professional theater, the Na- tional, which plays host to tryouts and road companies. The Arena stage, with its sense of adventure and continuity, has developed a faithful audience and looks at last to be secure. But it has had a struggle, and even today its public represents a tiny fraction of the audience -that the National Capital should assure. There are amateur efforts scattered throughout the area, and the work of the colleges, particularly Catholic University, has been unusual in years gone by. PAGENO="0332" 34 AID TO: FINE ARTS "Reading, of course, is one of the prime pursuits in Washington, which is essentially a white-collar city. There is the inevitable concern with studies and reports, and presumably someone reads the Congressional Record, though no one has ever accused it of having much literary quality. Books on government and politics and foreign affairs, whether philosophical or gossipy, have a higher cur- rency than in most cities. But genuine literature is a minority preoccupation. "Probably the leading indoor sport is conversation. People dOn't dine out at glamorous eating places. They meet in social gatherings in the home. Here the life of the mind and spirit is cultivated, if it is cultivated seriously, thrOugh books, records, and good talk. There are, of course, many thoughtful, sensitive people in Washington, and their conversation is capable of ranging widely over the gamut of human concerns. In this respect the Capital is like a college town with an impressive intellectual elite. But how often does conversation go beyond the immediate events and personalities of the day's news? "How does Washington compare as a cultural center with other capitals. Let us agree not to judge the city by the criteria of London, Paris, and Moscow, which are their nations' largest urban communities. Let us even skip Rome, which is not Italy's principal economic center, but which offers the grandeur of antiquity and the renaissance as well as Opera house, ballets, theaters, orchestra, conservatory, and art in abundance. "Compare Washington with a small capital like Brussels, which has opera,. ballet, orchestra, theaters, and a highly cultivated population, and the outcome is to. our discredit. Compare Washington with a provincial town like Tiflis, more than a thousand miles from Moscow. The Soviet city beyond. the Caucasus has an opera house, a ballet, four professional theaters, several children's thea- ters, and a proud cultural tradition. "What is the explanation for Washington's shortcomings You hear a variety of.excuses: "The city is not an industrial center, has no big business, and not enough huge fortunes, and these are the sources which nowadays supply the sinews of artistic activity. "The city has a large transient population dependent on the whims of the national electorate every 4 years. As proof of what this means culturally, it is pointed out that patronage for plays and concerts in 1953, the changeover year in administrations, dropped sharply. "Like it or not, the city's business, after all, is politics and government, and, while. its residents embrace a substantial percentage of intelligent, cultivated men and women, they have no choice but to concentrate on affairs of state rather than on artistic trends. "Washington's high society, with honorable exceptions, doez not find satisfac- tion in supporting the arts as extensively as in other great capitals because it is absorbed in a social whirl involving bigwigs in the Government and the diplo- matic corps, not forgetting visiting potentates. It has become more glamorous to be a persistently successful hostess than a devoted supporter of the arts. "There is merit in these reasons, though the cause lies deeper. Washington is what it is culturally because it reflects, more truly than it knows or perhaps would like, attitudes prevalent in many parts of the land. But that is not a compelling excuse. For the Capital should set, the tone-it should lead. It is not good enough to let Washington off `by saying that standards in the things of the mind and spirit are ordinary in many parts of the country. "Granted that the most popular entertainments on television, the successful films, and many bestselling books do not meet.lofty criteria; granted that in this great prosperous country professional theaters outside of New York are scarce; granted that only a small percentage of our people listen to great music and look at great paintings;, granted that the sales figures of the most dazzling bestsellers are a small percentage of the potential reading public-these things do not absolve the Capital City of responsibility; on the contrary, they increase it. Wash- ington should be in the vanguard. It should be a proud national showplace Inthearts. ` `. ` ` ` "The ~thousands of American visitors who stream through the city each year should be encouraged not simply to go sightseeing, but to `expose themselves to fresh experiences in the arts. The National Symphony, thanks to Mrs. Herbert May, a woman of wealth, devotes a number of weeks in the spring to free con- ~erts for visiting school `boys and girls. But these youngsters should also' encounter an eye-opening diversity of theater, opera, and dance. `Their fathers, mothers, elder sisters, cousins, and aunts should also find in the Capital a choice and inspiring invitation to cultural adventure. PAGENO="0333" AID TO FINE ARTS 325 "Thanks to the pressure of the cold war and the competition with the Soviet Union, we have assumed the duty of sending our cultural emissaries abroad to prove that our aspirations touch the mind and spirit as well as the body s comforts. The Congress has appropriated about $2,500,000 each year to help defray the cost of these expeditions of orchestras, soloists, dance troupes, lecturers, and jazz units. And the program has won wide approval. "But think how impressive would be a far-ranging and penetrating culturat life in Washington itself. The Ambassadors and Ministers and their staffs would relish it and report back home accordingly. The foreign visitors, wh& come in increasing mimbers in the era of the jet plane, would not have to be sold a bill of propaganda goods; they could see and hear for themselves. "In the long run, societies and nations are esteemed for their humanity and humanism, not theIr wealth or might. Their values are revealed most searchingly in the caliber of their learning, science, and culture. Washington should be the steadfast showcase of our values: And in the arts this showcase should be large, diverse, and vivid. It should embrace what is established and indisputably great, and it should encourage a ferment of new creative ideas. To take the theater as one example: If New York is the sharpest testing ground of com- mercial productions, why shouldn't Washington set the Nation an example o~ how exciting a chain of permanent repertory that could be? "But how are such enormous goals to be encompassed? "In the first place, the energy in Washington itself must be released. rn i~ city where policy is mnde by a few top officials, the habit of initiative has been lulled in many able and imaginative people. The permanent residents, and `they are preponderant, must bestir themselves. They must support their institu- tions and help to create new ones. They should fight hard to prevent the image of the Capital being formed by innocents and know-nothings whom the voters continue to elect and who play a part in making policy for us all. "Seasoned observers in Washington insist that the caliber of our public servants, elected and appointed, has risen markedly. The old Washingtonians and the new who believe in the destiny of the Capital must join hands to promote it. "Secondly, there must be an awareness in the highest echelons of leadership that lip-service in the arts is not enough. The men with informed tastes in the arts in executive, legislative, and judicial positions of importance should propound large-visioned ideals and programs. They must be active and unremit- ting supporters of all that adorns and ennobles life. When they take action they should be sure that they are acting knowledgeably and wisely. "The National Culture Center, whose noted architect, Edward Durell Stone, recently made public his designs, is a spectacular case in point. The drawings and blueprints suggest that Washington will get another stately mansion, a vast, domed temple devoted to the performing arts. Congress has voted an attractive 10-acre site near the Potomac. There are detailed reports on how the setting will be beautified. One hears that the multipurpose structure will contain an opera house, a concert hail, a theater, auditoriums, a grand salon useful as a ballroom, restaurants, and outdoor terraces. "One discovers that the center will be employed for elaborate state occasions like inaugural balls and the reception of distinguished foreigners. One is cheered by the news that it will become a tourist attraction for Americans not even interested in the arts. One reads that a Cabinet member thinks that the center will give the coup de grace to the scornful criticism `that America is culturally a primitive nation.' "Unhappily, there is little or no discussion as to what will be performed or who will perform it in the various performance areas. Presumably the National Symphony and various touring attractions will have a new forum. But there is no mention of anything else that is indigenous to Washington, of anything that has been created out of the Capital's own ingenuity and enthusiasm. The Arena Stage and Opera Society, both homegrown and worth while, have scarcely been * consulted. "Thirdly, there must be an adequate financial basis for progress. Consider *the case of the National Culture Center again. The hope is that it will be financed by contributions from individuals and institutions all over the United States. But will ceaseless money-raising campaigns be required to fill it the year round and' year after year with vital presentations? The boxoffice, we know, will not `turn the trick. Is the answer some sort of Government subsidy?.' PAGENO="0334" 326 AID TO FINE ARTS "Strong men blanch when such a suggestion is made in Washington. But some congressional voices have been raised in favor of a national instrumentality. for promoting and aiding the arts. The problems are manifold, and the touchiest would be the danger of political interference. But if the alternative is to let nature take its course, which means a moderate, instead of a brilliant cultural position for the Nation's Capital, possibly enlightened Government help can be worked out by men of good will. There is no hue and cry against a Government subsidy of $44 million for an ocean liner like the Tlnited States. If the Culture Center needs something more than the Government's moral support, let it be made available. "A New Yorker does not wish to be misnnderstood. He does not criticize the National Culture Center because he is jealous that another city may come- close to matching the forthcoming Lincoln Center of the Performing Arts. As a loyal American he welcomes Washington's cultural center and hopes that in time it will be duplicated in other cities throughout the land. "However, neither plans for a building nor the grand and beautiful new edifice itself should be the ultimate goal. A cultural center justifies itself by the artistic life it generates. A new cultural center in Washington can be useful and creative, but it must be conceived with a vision of what it will create. "This vision must be part of a larger one -that encompasses the noble role the Capital should play in the Nation's cultural life. For all the progress Washington - has made in recent years, gigantic strides remain to be taken, and the best efforts of all of the city's elements, including the Government, will be needed to make the Capital a proud showplace of a humane people's artistic concerns arid achievements." Is WASHINGTON, D.C., REALLY A HIcK TowN? [From the Congressional Record Appendix, May 23, 1960] (Extension of remarks of Hon. Harris B. McDowell, Jr., of Delaware, in the House of Representatives, Monday, May 23, 1960) Mr. McDowELL. Mr. Speaker, the New York Times Magazine, December 27, 1959. in a provocative article by its music critic, Howard Taubman, titled "In Culture, Is Washington a Hick Town?" said any comparison with other world capital cities such as London. Paris, and Moscow, as well as Brussels and Rome, "is-to our discredit." Washington, D.C., the Capital City of the richest Nation in history, was, in the judgment of the New York Times, even behind Tiflis, U.S.S.R., in cultural matters. Recently a more balanced article was written for the New York Times by one of -the ablest members of its Washington bureau, Alvin Shuster, who makes his home in the metropolitan area of the Nation's Capital and is free of much of the cant and provincialism which is the hallmark of the art critics of the New York Times. The article by Mr. Shuster is a hopeful article, and reports factually on the many proposals in the Congress and elsewhere designed to make it possible for the Nation's Capital to assume its proper role in the fine arts which, in the moving words of President Eisenhower, "make our civilization endure and flourish." Unfortunately, the New York Times, which carries on its masthead the power- ful phrase, "All the News That's Fit To Print," failed to print Mr. Shuster's fine article. - Feeling, as I do, that the thousands of loyal subscribers to the New York Times who live in or near the Nation's Capital will -be deeply interested in a balanced appraisal of its cultural life-including Members of the Congress-I include part of the text of Mr. Shuster's article as part of my remarks: "In his article. `In Culture, Is Washington a Hick Town?' Howard Taubman, Times music critic, felt the cultural pulse of the city and concluded it beat much - too slowly. "`I get annoyed at the too-ready attitude of everybody to take a crack at Wash- ington. They like to compare its cultural life to that of Vienna. What's there in Austria but Vienna? No wonder it emanates culture throughout its country. And the same goes for Brussels"-David B. Karrick, a District of Columbia Commissioner. - - PAGENO="0335" AID TO FINE ARTS 327 "`I feel almost ashamed every time I see the Italian Ambassador attending an opera in this town.'-A Washington operagoer who's seen a few in Italy, too. "`I've been a resident of Washington off and on for 32 years and I take offense at implications this is a hick town. It is wide open with cultural opportunities and this community takes advantage of everything it has to offer. I don't think any community reaches the optimum of culture.'-Secretary of Health, Educa- tion, and Welfare Arthur S. Flemming. "`The sad fact is that the Capital is laggard in its provisions for the arts, and its backwardness invites criticism, however annoying.'-The Washington Post and Times Herald. "And so it went. In summary `there is agreement that much has to be done to erase the international image that this town suffers from cultural poverty. But there is nevertheless some indignation-often among the same Washing- tonians-that what has been done, what is being done, and what is being planned are too easily and conveniently overlooked by critics. The general consensus briefly is that while this city may be no great national showcase of culture, it is no cultural backwater either. Somewhere in between lies the rea'l cultural Washington. "Washingtonians like to illustrate their cultural life by pointing with pride to their improving National Symphony; to the art galleries `like the National, the Oorcoran, and the Phillips; to their opera society, considered by many as first-rate though hampered like most operas by lack of funds; to its infant Wash- ington Ballet, which has just acquired Frederic Franklin as its codirector and should show steady improvement; to the excellent chamber music at the Library of' Congress and its crowded music calendar of many other events; to the Arena Stage, the local professional theater, and to the elaborate plans for the National Cultural Center with its opera, symphony, ballet and theater halls. "At the same time, of course, they do acknowledge a very serious lack of good facilities. Constitution Hall is the convention hall of the Daughters of the American Revolution and was built just for that. Yet it serves as the home of the National Symphony and is viewed by many as an acoustical horror. To put on an opera or ballet at George Washington University's Lisner Auditorium, where most are performed, half the musicians have to sit outside the orchestra pit on many occasions. The National Theater is the only place in town for Broadway shows. The Arena Stage operates in an old brewery, soon to be torn down. And the Metropolitan Opera has decided to hold off on all future ap- pearances here because, of the difficulties of operating out of the Capitol Theater whereit has performed-a large movie house with a too-small stage and a too- high rent. "Also acknowledged is the fact that the auditoriums in our Government build- ings here are inadequate. In many ways they are some of the finest' halls in the city, but there seems to be one major fault. Their stages can't sustain the weight of a piano. Nadia Boulanger, one of France's most famous musicians, found her piano in the aisle at the Interior Department's auditorium. "Mr. Karrick, one of the three city Commissioners, thinks that any consid~ eration of the adequacy of the culture here cannot rule out the beauties of Washington's architecture. "These are dismissed often as consisting of building after building. Anyone who can so casually' dismiss the Lincoln Memorial, the Jefferson Memorial, the Archives Building, the Library of Congress, among others, is so obviously unable to' discrimithite and appreciate architectural beauty that little can be said to convince him. The Folger Shakespearean Library is often overlooked. It is unique in the world, for in all probability nowhere outside of Stratford-on- Avon, if there, is there' as fine a collection of Shakespeareana and works on the Elizabethan theater. "`Admittedly we do not have everything, but we have such an abundance of cultural opportunity and such good attendance that it is ridiculous to contend that we are not a cultural city. A part of the contention seems to be based upon the fact that the expenditure by the municipal government is small. This is irrelevant. ` The opportunities are here, Washingtonians enjoy them. If visitors do'not, that does not justify deprecating Washington's cultural standards. `"`Many of the people who sit around and moan at the lack of culture in Washington have never bothered to go to an art gallery or to a concert. They would rather sit home and gripe about the fact that there is no such oppor- tunity in the city.' PAGENO="0336" 328 AID TO PUcE ARTS "This may be true, but there are certainly many, many other Washingtonians who do not sit home and gripe One day recently the writer tried to get tickets to four: Washington events only to find all four sold out: the Boston Symphony the National Theater s presentation of the Lunts in The Visit Chekhov's `Cherry Orchard' at the Arena Stage, and Catholic University's production of `Romeo and Juliet.' National Symphony attendance is at an ailtime high. And Washington's music calendar for March is most impressive with an event of some kind every night except two, including concerts at the National Gallery and the Phillips Gallery, string quartets and chamber music at the Library, chamber music at American University, and much more. Even the Natural Museum of History came up with a musical program the other day-early baroque music played on early baroque keyboard instruments. There is then little evidence of native insouciance when the public con- tributions to the symphony total $250,000, to the opera, $50,000, and to the local ballet $25 000 all in addition to the sums given to sustain the private galleries and other cultural efforts. "Indeed, Washingtonians retort, much of what is done here is often over- looked by others. For example, Glenn Gould, the Canadian pianist and one of the hottest properties today, gave his American debut at the National Gallery. Violinist Christian Ferras made his American debut in a small auditorium in nearby Silver. Spring, Md. Yet, music critics here point out, when both these artists went to New York several clays later, their performances were described as their `American debuts' and New York, in effect, took credit for the achieve- ment. "What needs to be done? Washington's real hopes are resting on the elaborate plans for the National Cultural Center. The Government has pro- vided some 10 acres of good waterfront property, but the more than $70 million needed for construction must be. raised from private sources. This may not prove to be an easy task. "`I feel ashamed about this sometimes,' one Member of Congress commented. `Look at what we're building on Capitol Hill here. We're spending nearly $200 million extending the east front and portico, building a new House Office Building. and a new Senate Office Building. We should and can afford to do more to advance culture here by providing additional funds.' ."Is Congress really the answer to the enhancement. of Washington's cultural life? Representative Frank Thompson, Jr., New Jersey Democrat, who has been. in the forefront of congressional efforts. to encourage the arts, thinks it may well be. "`It is up to Congress as the City Council of Washington, a city lacking home rule, to end these charges that the city is a hick town,' he says. "`But I sometimes get the feeling that jockeying for political position and party giving help substitute for culture here. And in Congress there often seems to be a massive apathy toward anything cultural. If it is not a pork barrel issue or a bread and butter issue, they seem to be against it. We've got a few guys up here who call ballerinas toe dancers, and that kind of thing. There simply are no votes in promoting culture in Washington.' "If this is true, and from what hasn't been done in Congress all these years indicates that it is true, then looking to Congress to help elevate substantially the cultural life here may well be in. vain. To some this would not necessarily b.e a disappointment. . . . .. . "For there is among that group of residents who have the civic pride and the money to actively support cultural activities here some real division over whether Government~ support would be wise. Those who are for it say that without it Washington's status as a center of culture may never be achieved. But there are others fearful of possible political interference and control over programs and activities once the door is opened. To illustrate their argument they like to tell the reported story of the city controller who, because the city helped finance the symphony there, signed the paychecks along with a symphony rep- resentative. Some years ago the symphony played Beethoven's Ninth which called at one point for four very able soloists. When it came time to pay them the controller balked, saying: `Those four only stepped out of the chorus and sang a little.' . "Those who favor, Government financial help, however, hear few complaints stemming from agriculture, aviation, or shipping subsidies, or from the tax relief to business, or from the tax `on fishing and hunting equipment that makes sure our sportsmen will have something to hunt and fish. PAGENO="0337" AID TO FINE ARTS 32~ "But there is also a fear among supporters of the National Symphony, how- ever, that any token Government support might well be worse than no support~ They argue that a contribution of only $25,000 might dry up much more than. that in private funds from contributors who might tend to feel their money was no longer needed. "Another less basic issue in the way of congressional financial support is the image many Members of Congress like to create back home of being just corn- fed, home-grown, log-cabin boys who don't know nothing about this here culture thing. `All of us have been just a bit guilty of that,' says Representative James C. Wright, Jr., of Texas. `But I `think we have reached the state of maturity in this Nation when that kind of attitude no longer becomes us. Sooner or later we have to grow up and. stop poking fun at things intellectual and cultural.' "Nevertheless, there are those in Congress who agree with men like Repre- sentative H. R. Gross, Iowa Republican, who argued against the cultural center bill. He noted that we were being criticized by diplomats in, some 80-odd em- bassies in Washington because of no such center. "`My answer is that if these people do not like our culture, they know what to do about it. I would say further that if we had just a few of the billions of dollars that we have given to foreign freeloaders over the years we could build a cultural center every 15 feet in the District of Columbia. I don't care how many cultural centers the people of Washington want to build on land they buy with their own money. I want them to get off the backs of my taxpayers.' "Of course, Washingtonians have very little control over `their own tax dollars,. which go direct to the Federal Government. Each year the city's Commissioners have to go hat in hand at budget time to get congressional approval for every dollar they hope to. spend. Here, too, because of other public needs, culture comes last. Only $16,000 is being spent a year out of a local budget of around $200 million. This compares with local cultural outlays in New York of about' $2.6 million; $817,000 in San Francisco; $790,000 in Chicago and $543,000 in. Detroit. Even Hagerstown, Md., spends almost as much as the Nation's Capital. in municipal funds for the arts. And Evansville, Ind., spends more, setting aside almost $37,000. "The Commissioners tried 7 years ago to get Congress to authorize a subsidy' of up to $25,000 for the National Symphony, but the proposal bogged down. "Accordingly, one of the ideas is to give the city-if not home rule at least' some discretion over how it is to use its funds. Senator J. W. Fuibright, Demo- crat, of Arkansas, and chairman of the Foreign Relations Committee, feels that' `control of its own affairs `is definitely part of the answer.' The National Gallery' of Art-now maintained by the Fedei al Government-might never have been built, he says, if it were riot given by Andrew Mellon. "In this connection, Representative Thompson and Representative Harris. B., McDowell, Jr., of Delaware, DemOcrat, and `another .champion of Washington cu1-~ ture, are sponsoring along with others a bill `to set ,aside one-tenth of 1 cent of' every tax dollar in Washington for cultural work. At the current tax yield, this would come to about $180,000, to be matched by Federal funds for a total o~ $300,000. "Other ideas from Members of Congress interested in cultural advancement' here have included a `national showcase program'; to creation of the Federal Advisory Council on the Arts, which has been before congress for years; the establishment of a national portrait gallery in the old Patent Office Building, and: even the appointment :of a `master of the President's music.'~ "The `showcase' proposal-a similar bill `was passed by the House several years. ago-would encourage the development and growth of the arts in colleges and uni- versities. One of the proposals in the bill now pending would be to present in, Washington a series of international fine arts festivals and competitions. "`Through such a program,' Representative McDowell believes, `an interna-- tional music competition could be held in Washington annually with so impres- sive an international aggregation of judges that `the winners would be launched, in their professional careers as Van Cliburn was launched by Moscow.' "As for the national portrait gallery of famous Americans, Senator Hubert' Humphrey and Representative George W. Rhodes, who are sponsoring this plan,. believe it would `make a major contribution to our national life, foster patriotism,. and educate the coming generations in the high ideals which distinguish us as a nation.' ."The administration bad been planning to tear down tha building, whicb~ was designed by Robert Mills, who also designed the Washington Monument an& 70259-61----22 PAGENO="0338" 330 AID TO FINE ARTS the Treasury Building. And some here ilke to cite this, among other things,. in complaining that Washington could use something more than a `lackadaisical' attitude on culture on the part of the administration. "`A little strong leadership from the White House wouldn't hurt,' one Demo- *.crat in Congress put it. `The President said back in 1955 that the "Federal Government should do more to give official recognition to the importance of the arts and other cultural activities." But his recognition has been to come to only three concerts since taking office.' "In this connection, Representative McDowell is giving his support to the idea of a `master of the President's music,' who would be consulted from time to time on the music to play at ceremonial occasions. It seems the proposal stems from the criticism of the selection of songs like Zippety-doo-dah-a won- derful ditty in its place-that was played at the White House. dinner for Pre- mier Khrushchev. The feeling was this was perhaps misleadingly illustrative of the city's cultural status. "A National Conservatory of Music or a U.S. Academy of Music have also been proposed. Paul Hume, a music critic here, has urged this and suggested that the new cultural center might well serve as the residence of the conservatory. "Just what is to go into that cultural center, when and if it is built, is also creating some discussion among those Washingtonians who are looking ahead. The emphasis has been on getting it built. But some basic questions are being raised. Should it be the home of the National Symphony, for example? Should it have resident companies like the Washington Opera and Ballet? The Arena Stage, which wasn't consulted by the center officials, has apparently been lost to it because it plans to go ahead with its own new building. Shouldn't there be intensified efforts now to strengthen existing performing companies and to create new. ones of a truly first-rate, national. character? "Secretary Flemming, chairman of the center's board of trustees, believes that once the center is up, increased incentives will be provided for improving the city's cultural groups. And he believes it can be done through private contributions. "`I'm not at all convinced Federal funds are yet needed for any of this now,' he says. `The curve is definitely up in Washington culture. It has made tre- mendous strides. Community support is increasing, not decreasing. I'm con- fident it will continue. "`Once the center has been built, we hope to attract groups of great caliber. I think what we have to keep in mind is that they will be performing before a national audience here in the Nation's Capital. People from all across the country will get the chance to see what we are doing. In this way, Washington will really begin to emanate culture.' "Washington, then, seems to be on its way. To many here its culture life in some respects is quite admirable. But there is no doubt about all these proposals including the cultural center generating artistic endeavor; a concert- going President, a contemporary art gallery are two, a significant series of inter- national competitions, intensified community efforts, a ban on Zippety-cloo-dah, some self-government, much more money, both private and Government-just these `few' things-would do absolute wonders for our pulse rate." [From the Congressional Record Appendix, Apr. 12, 19~O] THE DEPARTMENT OF D1irm~sE Is USING COLLEGE AND UNIvi~asrrY TALENT To ENTERTAIN Gun Taoo~s ABROAD AND SHOULD SCHEDULE THEM To APPEAR BEFORE STUDENTS OF O~mER COUNTRIES-MANKIND WilL PROFIT WHEN YOUNG MEN AND WoMEN OF ALL NATIONS AND IN GREAT NUMBERS STUDY AND LEARN TOGETHER, PRESIDENT EISENHOWER SAYS (Extension of remarks of Hon. Harris B. McDowell, Jr., of Delaware, in the House of Representatives, Tuesday, April 12, 1960) Mr. MCDOWELL. Mr. Speaker, President Eisenhower gave top priority to a massive interchange of mutual understanding in his highly important speech at Delhi University in India last December. At that time the President said: `More enduringly than from the deliberations of high councils, I believe niankind will profit when young men and women of all nations and in great numbers study and learn together. In so doing, they will concern themselves with the problems, possibilities, resources and rewards of their common destiny. PAGENO="0339" AID TO FINE ARTS 331 "Through the centuries nations have sent their youth armed for war to oppose their neighbors. Let us iii this day, look on our youth, eager for a larger and clearer knowledge, as forces for international understanding; and send them, one nation to another, on missions of peace." The President's special international cultural exchange program has so far failed miserably to include young people from our colleges and universities in its program. Yet I ani assured by Dr. Howard Hanson, president and chair- man of the board of the National Music Council, that student groups "will con- tribute even more importantly to the cultural exchange program than the ex- change of commercial professional groups." I have introduced legislation to provide the massive interchange which Presi- dent Eisenhower has called for, and this legislation has been cosponsored by my good friend and colleague from New Jersey, the Honorable Frank Thompson, Jr. At the same tinie, the Department of Defense-which sends college and uni- versity talent abroad to entertain our troops-could schedule them to appear before students of those countries where our troops are stationed. Such a step ivould be a highly significant addition to our Nation's foreign policy and would be the most important step to implement the President's suggestions at Delhi University which has been made to date. At the same time, the administration should abandon its plans to destroy the historic buildings on Lafayette Square in the Nation's Capital just across the street from the White House. These buildings could be utilized for edu- ~ational and cultural purposes in the expansion of the massive interchange the President has called for. Congressman Frank Thompson and I have spon- sored legislation-HR. 11678 and H.R. 11691-for this purpose, too. Similar legislation has been cosponsored by Senators Kennedy, Morse, Humphrey, Douglas, Hennings, Gruening, Mansfield, and Murray. (I include as part Of my remarks a speech on the subject of "The Arts and Sciences and International Understanding," which I made on April 11, 1960, to the members of the University Women's Club of Washington, D.C.:) THE ARTS AND SCIENCES AND INTERNATIONAL UNDERSTANDING I am happy to have this opportunity to discuss with you the Nation's need to further develop its creative resources. This country is richer than we know in artistic achievement. The Communists, however, are telling people around the world that Americans are hardhearted materialists interested only in making money. This is strange talk from the irreligious materialists of Moscow; :but it is sometimes a convincing argument to people around the world who know little of our cultural achievements. This type of Communist propaganda makes it obvious that today the United States is involved on a new front in its struggle to win the support and understanding of the world for democracy. We face a committed, energetic, formidable competitor in the Soviet Union. The Corn- munist cause is stretching out to reach millions of persons around the world. We must compete more actively if we are to reach the minds and hearts of the youth of other countries who are to be the leaders of tomorrow. Experience has demonstrated that military, political, and economic diplomacy, although practiced so effectively in the past, are no longer enough to win peo- ples' understanding. In a world whose political and military geniuses are stalemated by the discoveiies of scientists we have learned that negotiations over, the green baize tables of diplomacy are only one way for nations to try to reach an understanding. Direct contacts between our people and people of other nations are essential to help dispel some of the misconceptions they have concerning the philosophy and goals of the United States. We must provide new avenues by which we can demonstrate the American imagination and its creative force to many more of our own citizens as well as to people throughout the world. An intensified encouragement of our partici- pation in the arts would make it manifest that cultural endeavor is an integral part of this Nation's way of life. We need to establish a cultural breakthrough at both the national and international levels. A concerted effort must be made to better display America's culturalimage. In the ~1eld of music alone, how many people realize, f~r example, that Ameri- cans in a recent year spent more money at the box office for concerts than they spent for baseball games; that we support in this country 1,000 symphony orches- tras and 450 opera-producing groups; that over 255 educational institutions offer degree courses in music and advanced level musical training. We have a plentiful reservoir of artistic talent in this country. We should place this talent in the spotlight. PAGENO="0340" 332 AID TO FINE ARTS If we are going to take significant steps toward making far-reaching contribu- tions in the cultural field, the task before us is a great one. Today, I want to discuss some of the specific actions which should be taken to accomplish. these ends. If the United States is to be able to establish a cultural and scien- tific breakthrough around the world, we have to take definite action. President Eisenhower gave top priority to massive interchange of mutual. understanding in his speech at Delhi University last December. At that time the President said: "More enduringly than from the deliberations of high councils, I believe man- kind will profit when young men and women of all- nations and in great num- hers study and learn together. In so doing, they will concern themselves with the problems, possibilities, resources and rewards of their common destiny. "Through the centuries nations have sent their youth armed for war to oppose their neighbors. Let us in this day look on our youth, eager for a larger and clearer knowledge, as forces for international understanding; and send them, one nation to another, on missions of peace." As a corollary to this idea we must make certain that many more of America's talented young artists are included in the President's special international cul- tural exchange program. To achieve this end I have proposed legislation to create an actual two-way exchange program since no such cultural exchange now exists. So far, the major, if not the entire, emphasis of the program has been. restricted to large professional groups and individual professional artists. More- over, the price of tickets of admission in many instances has been beyond the pocketbooks of most people in other countries. There is some doubt that the program as presently administered is as much of a success as some of its pro- ponents would have us believe. Under the present program the large profes- sional groups and distinguished American artists perform in opera houses and great halls and usually for only limited engagements because of the expense. Why should we display only that portion of America's artistic talent which draws huge impersonal audiences? Why should we play only to a world of gilded mirrors and red plush? Truly these performances do not reach the man in the street, the university student with limited funds, and the student artists in the countries around the world. It is the individual whom we must reach. Our international cultural exchange program must include our students and. their teachers, community groups, and university and conservatory groups.. There is not only a vast audience abroad for every one of them, but also a vast reservoir of friendship for them to tap. In addition to the professional artists,. we should be most certainly sending our talented young artists and art groups. on a university circuit all over the globe. My proposal envisages an actual two-way cultural exchange program. It would support the performances of individual artists, choral groups, youth orchestras, and drama groups from other countries on their tour of the university circuit in the United States. Thus, young artists from around the world would have a chance to see this country, to learn something of our way of life on uni- versity campuses and, what is most important, have a chance to talk with other young people who have similar interests and talent. The merits of this type of exchange are undeniable for, as Isaac Stern declared at the recent Interna- tional Music Conference, the most effective penetration in cultural exchange is at the youth level, on both sides. Recently I returned from an inspection tour of the operations of the mutual security program in some 20 countries in Asia, Africa, and southern Europe. I was impressed especially by the fact that the leaders in many of these nations are very young, under 30 years of age in many cases. It is my. firm belief that we can best reach the young people in other countries through a cultural exchange program such as I have described. Van Cliburn made the most . significant cultural breakthrough in the last decade, yet he received absolutely no financial help at all from the President's. special international cutlural exchange program. Van Cliburn's expenses were paid with funds raised by. the Institute of Inter- national Education from the Martha Baird Rockefeller Fund. Many others: of our highly talented young people who could help to carry the message of inter- national goodwill have~not been able to secure such distinguished private patron-- age. Furthermore, the door of the Government's cultural exchange program has been closed by administrators in the Department of State who seem surpris- ingly unaware of the tremendous potential of the young talent in our colleges: and universities. . .- . PAGENO="0341" AID TO FINE ARTS 333 So far the President's special international cultural exchange program has ~devoted almost its entire congressional appropriations to sending rna)or profes- ulonal groups abroad. The State Department overlooks the opportunity of utilizing young talented American artists in' this program. This shortsighted- ness `must be corrected if we* are going to effect a massive interchange of mutual understanding through student exchanges. The legislation which I have pro- ~Osed would make permanent the* inclusion of young American artists in our cultural exchange `programs. `NO longer' would this endeavor be subject to the whim of individual officials or of. any. political administration in' Washington. The enactment of this' legislation would insure that a specific provision for'young nrtists has the support of the Congress which is vital if we are' to enhance America's cultural image. ` ` ` In addition to the need for the Federal Government to place a broader emphasis on the arts in direct' connection with international cultural activities, we should provide a means to promote among more of our own citizens a knowledge of and interest in the creative arts. For example, I believe we should establish in Washington, D.C., a national showcase program to display the very' excellent fine' arts prOgrams of our institutions of higher education. The primary purpose of the showcase would be to encourage the further development ~and' growth of all the arts in colleges and universities. The time'is right to establish' a perma- ment program to encourage our young people with interest and talent in the arts, instead of leaving their discovery-as in the case of Van Cliburn-to the TJ.S:S.R. As R. L. Bruckberger emphasized `in his `recent' b'ook "The Image of "America," ~`America does not always give its own creative minds the recognition due `them, indeed it sometimes ignores them altogether. This is so often the case that an ~observer as casual as the average European traveler in America' finds~ it only too easy tO assume `that in certain fields there are no creative minds. * * * In their hearts, Americans do not believe that there could ever be found among them men of such stature as Stravinsky, Picasso, and Bergson." It is my firm conviction that we do have talent which can be encouraged through the `showcase program `by giving national recognition and encourage- ment to young American artists. The bill I have introduced is sponsored also by Representative Carl Elliott, of Alabama; Representative `Edith Green, of Oregon; Representative Frank Thompson, of New' Jersey; and Senator Wayne Morse, of Oregon. It would inaugurate an International Olympiad of the `Arts and Sciences. This program, to be held every 2 years, would present high quality international exhibitions, productions, festivals, and programs in these' fields. I am sure that such an enterprise would greatly strengthen the mutual under- standing of the peoples of the world. I have often been asked how I would expect the International Olympiad' of the Arts and Sciences to be initiated, organized, and operated. Here are some answers to the questions that have been raised. The President of the United States would communicate with the heads of nil the nations in the world, inviting them to send representatives to Washing- ton for a conference. This meeting could be under the chairmanship of the Secretary of Health, Education, and Welfare, who would be responsible for practical arrangements. The President would address this conference, calling upon, the nations to' join with the United `States in competitions in the arts and sciences. Following this conference I `would expect that most of the nations would set up committees which would be responsible for `arranging participation in the competitions An American committee would work through the Depart ment of Health, Education, and Welfare, under appropriate guidance from the Department of State. Distinguished private citizens would be appointed by the President to serve on this committee A's I mentioned before, my bill calls for an International Olympiad of the Arts and Sciences to be held every 2 years I would hope that the first Olympiad might take place in the new Lincoln Center in New York and that our proposed National Cultural Center in Washington would be completed in time for the second If a cooperating nation extended an invitation for the Olympiad I think that this invitation should be carefully considered and accepted if ap- proved `by a meeting of representatives of all participating' countries. Pending the assurance that there would be facilities for the competitions overseas, I believe we should continue to hold them at 2-year intervals in the Nation's Capital. PAGENO="0342" 334 AID TO FINE ARTS As I see it, the Olympiad of the Arts and Sciences could include competitions: in five main fields. First, I should like to see an international folk festival, where the nations: of the world would compete in dancing and folk singing, and in displaying native handicrafts including fabrics, woodcarving, and other traditional crafts. This would help to preserve the folk heritage of mankind, a heritage which is rapidly being dissipated around the world. The industrialization of the modern world is seriously diminishing the interest of many in the folk arts. It would be a tragedy if these noble traditions were to be lost. I believe that the International Olympiad program would be a strong influence in preserving this inheritance from man's past. Secondly, there could be a festival of drama and the dance which would involve competition in the presentation of assigned classical plays, such us Shakespearean tragedy; competition in the presentation of original plays; competition in the presentation of national theatrical forms such as the Kabuki and plays of Japan; and finally, competition in classical dance forms such as the ballet. The differ- ence between these dances and those which might be presented under the folk festival is that there are certain types of dances which are common to a variety of cultures and competition here would be on-the basis of national interpreta- tion of these classical dance forms. - There could be a music festival which would involve individual competition in. all of the principal instruments in use today around the world. We should have competition in piano, the stringed instruments, the brasses, and the woodwinds. Special categories for national instruments which would make it possible for the world to become acquainted with the unique musical heritage of Tarious- cultures could be included. There could also be a competition in painting and sculpture. Here an inter-- national body of critics might set up the appropriate categories, and select quali-- fled judges. I hope there will be several categories, including both the classicat and modern schools, -and the traditional art of the world's civilizations. The fifth competition might be in the sciences. A group -of distinguished inter-- national scientists could decide upon the type of competitions to be held. It might be patterned after the science talent search and National Science Fair,. which are sponsored by Science Service. The International Olympiad could follow the tradition of the sport-s olympics with the lighting of the traditional flame, the reciting of the Olympic oath, and the awarding of medals. However, I believe that the winners in the Olympiad should receive additional. prizes, such as opportunities for concert tours, gifts of musical instruments, and opportunities for additional exhibits of their artistic or scientific achievements. Many benefits are to be derived from these contests. First, there would be an opportunity for young artists or scientists to win distinction. Secondly, people would have a chance to learn that Americans are not materialistic money-minded individuals. Finally, the world would be enriched by this exchange of artistic and scientific ideas. Unquestionably an appropriation would be required from the Congress to initiate these contests. However, I think that there would be enough public interest after the first Olympiad to warrant reliance upon public subscription to finance future American participation. The revenue from admission to various events would be very substantial, and should go a long way toward financing the entire project. The arts and the sciences are a universal language. We should use this language to become better acquainted with our friends around the world, and to enable them -to understand us. The millennium will have to be achieved by hard work. The alternative may be the destruction of mankind. I believe the International Olympiad of -the Arts and Sciences and the two-way cultural exchange program of young `artists would be gigantic -steps `toward more effectively promoting international stability and mutual understanding of the world's peoples. As we go -about living our busy lives today, we think of and pray for peace in our time. And as we ask for divine guidance, we `should remember that it is not enough just to ask for peace-we must work for it. PAGENO="0343" AID TO FINE ARTS 335 NATIONAL LEGISLATION AFFECTING THE ARTS (Remarks of Hon. Harris B. McDowell, Jr., Congressman at Large, Delaware,. to the 36th annual meeting of the National Association of Schools of Music, Palmer House, Chicago, IlL, second general session, Nov. 26, 1960) It is a distinct pleasure to be with you of the National Association of Schools of Music. This is a wonderful opportunity for us who share a special concern for America's eultural destiny. Together we can consider in what direction this Nation is .heading in the field of the arts and your particular role in shaping this course As members of a professional organization dedicated to strengthening the quality of higher education in music, I know that you have a deep interest in efforts to insure a widespread recognition of the arts in this country. Since my election to the Congress, I have introduced and supported measures to advance this purpose. You are aireadyaware, I am certain, that throughout the country we are experi- encing a stimulating growth in the arts. And the picture is getting better every year-despite the still prevailing fiscal undernourishment which, in my opinion, the Federal Government should help to remedy in the immediate future. I want to discuss with you today some of the efforts being made to further the national recognition and encouragement of the arts and artists. In the Congress some of these efforts have already achieved success. Others, I sincerely believe, will be accorded more serious consideration under the new administration. I am firmly convinced that the immediate future holds great promise for recognition of the arts on the national level. Both of .the presidential candidates, for example, recently assured citizens that they were aware of many of the needs relating to the arts and the Nation at home and abroad. Both thought that the Federal Government had a role to play in meeting some of those needs. Both concurred on the desirability of expending the present cultural interchange pro- gram. The two candidates, however, opposed the establishment of a Secretary of Culture of Cabinet rank and with broad authority in this field. Mr. Kennedy and Mr. Nixon expressed concern for maintaining the freedom of the arts and favored instead the creation of a Federal Advisory Council on the Arts. I am certain that such a council of experts would greatly assist in the evaluation, develop- ment, and expansion of the cultural resources of the United States. A bill (H.R. 7656) which would establish a Federal Advisory on the Arts was reported by the House Committee on Education and Labor during the past session of the 86th Congress. This Council would undertake studies and make recommendations relating to appropriate methods for encouraging creative activities, participation in and appreciation of the arts. It would be composed of 21 members appointed by the President from among private citizens who are widely recognized for their knowledge of, experience in, or their profound interest in one or more of the arts. The House committee reported that it- "* * * visualizes the Council as a national clearinghouse for the consideration of methods by which the Federal Government might appropriately and effectively act to encourage and stimulate both artistic endeavor and appreciation on the part of our citizens." I am one of those who believe that the enactment of this legislation is long overdue. In introducing one of the presentations of the candidate's views on the arts, which I mentioned previously, Irving Kolodin, music editor of the Saturday Review, makes the following observation: "Among the subjects with which the next administration will have to deal is the claim of art and artists to Government recognition, encouragement, and as- sistance. Though not the gravest issue before the country, it is far from the least if our culture is to attain the growth of which it is capable * * 2 As President-elect Kennedy so ably states: "The encouragement of art, in the broadest sense, is indeed a function of Government. . * * * * *. * * `H. Rept. No. 1660, 86th Cong., 2d sess. ~ Saturday Review, Oct. 29, 1960, p. 42. PAGENO="0344" 336 AID TO FINE ARTS "The Government cannot order that culture exist, but the Government can and should provide the climate of freedom, deeper and wider education, and intellectual curiosity in which culture flourishes * * ~ 3 To the readers of Musical America, Senatoi~ Kennedy also points out: "* * * We live in an era of impressive artistic achievement. "American education has opened its curricula to the creative arts all across the country No campus is now complete without a gallery a drama and dance group a resident poet and composer And the American Government is even more dependent upon art For art works direct; it speaks a language without words, and is thus a chief means for proclaiming America's message to the world over the heads of dictators, and beyond the reaches of officialdom * *_ * * * In line with this relationship between the arts and public affairs, two of the other major organizations in your field requested that cultural planks be included in the national party platforms-the National Federation of Music Clubs and the American Federation of Musicians.: I assure you that it is only through the continued support of your own and other professional organizations that we in the Congress can hope for success in the promotion of the arts on a nation- wide basis. S :1 heartily agree with the recent suggestion of Miss Marie Hurley, national legislation chairman of the National Federation of Music Clubs, that various committees for the arts. in both political parties should be retained after the campaignJ Moreover, as Miss Hurley points out, these committees "should be assigned appropriately and permanently as organizational components of the Democratic and Republican National Committees to work on a continuing bi- partisan basis specifically, for the enactment of sound legislative proposals advanced: by the presidential candidates, and overall, for cultural progress throughout the Nation." S J have mentioned in a general way the growth of the arts in recent years- as indicated both by the increased activity and by greater awareness of what still remains to be done to promote the arts nationally. Surely you have noted the surge of interest in your own field. Some of this enthusiasm certainly cannot be subjected to a mere economic measuring stick. Yet it is still true that the ways in which we as a people spend our money reflect, to some degree, our national sense of values. The American Music Conference and the National Association of Music Merchants recently reported that last year Americans spent a record of $550 million for musical instruments. This amount represents more than double the 1049 sales of $220 million and represents an increase of 78 percent greater than the growth rate in personal consumption spending during the same period.5 S Moreover, a recent report to the trustees of the National Cultural Center included the following encouraging facts relating to the situation in music in the United States today. We are told, for example, that- We now have 1,142 symphony orchestras (more than half of those in the world), as compared with fewer than 100 in 1920 and 10 in 1900; Americans spend more at concert box offices than at baseball ticket gates and as much for recordings of concert music and high-fidelity equipment as on all spectator sports; Since 1948 about 1,000 compositions of some 300 American composers of "serious music" have appeared on longplaying records; There are over 75 national musical organizations in the United States - with more than 000,000 members devoted to the cause of concert music and over 185 organizations dedicated to music; S Over 35 million Americans are actively interested in some form of con- cert music. During the 1958-59 season, the American Concert League reported -more sOld-out houses and the highest concert music ticket sales in history.° S Similar increases are also noted in the -hours of concert music carried over the radio each week and in the number of municipal auditoriums and special con- ~IbkI., pp. 43-44. - - - - - 4 Musical America, October 1960~ p. 11. ~ Wall Street Journal. Aug. 24, 1960. ~ The National Cultural Center; pt. 1, sec. I, "The Case," New York, G. A. Brokeley & Co., Inc., 1960, pp. 5-6. - PAGENO="0345" AID TO FINE ARTS 337 cert halls in cities. It is no wonder that the situation today has been referred to as everything from a "cultural revolution" and a "cultural breakthrough" to a "cultural explosion" and a "cultural bender." Yet the picture is still not entirely rosy, even in the music field. As Howard Mitchell, of the National Symphony, noted earlier this year, there is the problem of those for whom the "products" of the musicians are still "too exclusive." ~ There are still the -many economic difficulties involved in bringing more good music to more appreciative citizens. Although the price of symphony tickets has gone- up in many cases, some of our finest orchestras still cannot keep up -with rising costs. Thus,- without additional aid, they face the same plight as the universities ~ ith their evei increasing tuition fees We know foi example that concert ticket- sales usually only cover-from -40 to 50 percent of the year's expenses for our major orchestras. Moreovei with standaids of performance and the degree of competition oii the upgrade,. we are told also that there is a shortage of orchestral players and a great demand for full time professional music teachers Some of the orches tras it is true recei~ e financial assistance from local governments Most of the leading symphonies however must rely mainly on gifts from individuals and. business firms 8 I do not suggest at this point however that the Federal Government merely step in and buy a solution to such problems facing music and the other arts This is something neither you nor I want to see happen Rather I have chosen this close-to home example as only one illustration of the many serious deficiencies which will continue to exist unless we can `develop in citizens a greater appre- ciation of the significance of artistic endeavor in our national life Our State and. local governments play important parts in this task but I believe that the impetus for a broad program of national cultural awareness must come from the national level. I am convinced that our demOcratic society must accept responsibility for preserving and promoting the arts -as it has done in other areas of universal human need-in health, in welfare, and in education. - - - - - - In this regard, I share the view expressed last year by- a member of a family that has afforded substantial financial support to the arts.. In- emphasizing the concept of community responsibility for the-arts at the dedication of the magnif- icent Lincoln Center for the performing arts in New York, John -D. Rockefeller III stated that "~ * * today creative fulfillment is as important to man's well- being and happiness as his need for better physical health was 50 years ago." Let us look now at some of the Federal legislation enacted during the 86th Congress. One bread-and-butter problem for many musicians was helped with the passage of a bill which reduces the cabaret tax-from 20 percent to 10 percent (Public Law 86-422) As you know, the American Federation of Musicians had vigorously opposed this -Federal tax for years on the grounds that it was con~- fiscatory and discriminatory and that it greatly reduced the number of job oppor- -tunities for some musicians. - - - - - Another bill passed in 1959 would amend the National Cultural Center Act by permitting donors to the center to name an alternate recipient for tax dedue- tion purposes if the total amount of donation in 5 years is insufficient for th-e construction of the center. As you are already -aware, national cultural history was enhanced in 1958 when -the Congress chartered a NatiOnal Cultural Center to be located in -the National's Capital and constructed with private funds on Government-donated land. The National Cultural- Center Act, incidentally, re- ceived wholehearted, bipartisan support and can be an excellent example of co- operative public-private efforts to encourage cultural activities. You in the music field will surely be pleased to know that the hall of this multi-million-dollar project sc-heduled for completion first is an opera house. Until the other projected facilities are constructed, symphonies and theatrical performances will probably also be held in this hail. Trustees recently announced plans to start building by 1963 a complete shell of the center and to finish a multipurpose hall by that date. A plan is now under consideration which proposes using the center as a showcase for the performing arts-prOsenting rather than producing shows, with a clearinghouse for art information, an arts museum, and a library. - - - - - Christian Science Monitor, Apr. 20, 1960. - - - 8Economist, .Tuly 24, 1957, p. 219. ~ New York Times, Oct. 7, 1959, -p. 45. - - PAGENO="0346" 338 AID TO FINE ARTS Unlike the capital cities and even the larger provincial cities of Europe and the U.S.S.R., Washington has never enjoyed the distinction of such a monu- ment to the performing arts. It is hoped that the proposed cultural center would not only be an inspiring, useful, and tangible project in which our own citizens could take pride but also an international meetingplace of world renown in the arts. We have looked at some of the recent legislative enactments. Surely, the progress to date is notable. Yet much more remains to be done. Numerous other bills which would affect the cultural life of the Nation were left pending at the end of the last session. I call your attention particularly to a proposal which would provide for the preservation of the Dolly Madison House, Benjamin Tayloe House, Decatur House, and the famous old Belasco Theater-historic landmarks in the Nation's Capital. The Senate (Ctmmittee on Labor and Pub~ lic Welfare) held hearings on such proposals this spring. And yet, despite the overwhelming evidence in favor of the preservation of the historic buildings, and despite the efforts of the General Services Administrator to recommend another site for the proposed court building, the Senate Public Works Commit- tee voted to authorize new construction on Lafayette Square. The one final hope now is intervention by the new administration next year. Since GSA will not be ready to raze the buildings for about 2 years, the new President would be able to save these historic buildings by refusing to spend the money authorized for the new courthouse. I am certain that Mr. Kennedy will fully support every effort to preserve the~e buildings which have such deep connections with America's cultural past. These efforts have the support of some 30 national and local organizations rep- resenting millions of Americans-among them several large music organizations. President-elect Kennedy introduced a splendid measure in March of this year to preserve and maintain buildings for historical, cultural, and civic purposes. In introducing this bill, he said: "~ * * The Dolly Madison house, the Benjamin Tayloe house, and the Belasco Theater have long served as an inspiration to generations of Americans who have visited their Capital City. Certainly, before any irrevocable action is taken to destroy these buildings to provide a site for a courthouse, other sites should be investigated." The bill also authorizes that the National Park Service and the District of Columbia Recreation Department shall advise and assist the Administrator in the restoration and management of the Belasco Theater as a municipal art cen- ter. I also introduced a similar bill in the Congress this year. In my opinion, it would be an act of folly to destroy these important symbols of our cultural heritage as a Nation. In this city of Chicago, the famed Garrick Theater, build in 1892, the same decade the Belasco Theater and Carnegie Hall were built, was recently saved through the efforts of a citizens' committee headed by Mayor Richard J. Daley. Concerted effort and the cooperative inter- est of professional organizations such as your own often lend important sup- port to such projects. Another significant piece of proposed legislation was that relating to a Fed- eral Advisory Council on the Arts, which I have already discussed. As I indi- cated, the bill was favorably reported in the House. In the Senate, it was left awaiting action by the Committee on Labor and Public Welfare. I also sponsored, as did Senator Humphrey, a bill to provide that 1 mill out of each $1 of tax revenue of the District of Columbia government be set aside in a special fund to be administered by the District Recreation Board in order to help defray the expenses of the National Symphony Orchestra, the Corcoran Gallery of Art, the Washington Opera Society, and other nonprofit art and cultural programs of the Nation's Capital. This is not a new idea in municipal support of culture, and it certainly could do wonders for Washington's artistic and cultural activities. You may be surprised to learn that the municipal government of Washington spends for less on the fine arts than most other major US. cities. A survey conducted in 1959 by the Library of Congress at my request showed that the Nation's Capital gives only $16,000 in municipal funds for cultural activities as compared with much larger amounts in other cities of comparable size and less per capita income. It is no wonder that, in culture, Washington has been called a "hick town." Certainly our Capital does not compare favorably with the capital cities of other nations throughout the world where much higher PAGENO="0347" AID TO FINE ARTS 339 values are placed on artistic endeavors and where government support is a long-established practice. Unfortunately, the Congress failed to act on this bill in the last session. Another measure, which I sponsored and upon which we hope to achieve action in the next Congress, would provide that many more of America's talented young artists are included in the President's special international cultural ex- change program. I have proposed legislation which would create an actual two- way exchange. No such mutual exchange now exists for young artists under this program. In fact, the major emphasis of the current program to date has been restricted to large professional groups and individual professional artists. Moreover, when these groups do go abroad, the price of admissions to per- formances in the fine arts has been beyond~the:pocketbooksof most people in other countries. Large professional groups and distinguished American artists perform in opera houses and great halls and usually for only limited engage- ments because of the expense. Clearly, these performances do not reach the man in the street, the university student with limited funds, and student artists in countries around the world. I believe that our international cultural exchange program must be broadened to include students and their teachers, community groups, and university and conservatory groups-such as those from the schools represented here today. There is not only a vast audience abroad for them but also a vast reservoir of friendship for them to tap. My proposal would support the performances of individual artists, choral groups, youth orchestras, and drama groups from other countries on their tour of the university circuit in the United States. Isaac Stern declared at a recent International Music Conference, that the most effective penetration in inter- national cultural exchange is at the youth level. In addition to the need for the Federal Government to place a broader em- phasis on the arts in connection with international cultural activities, we must also provide a means to promote a knowledge of and interest in the arts among more of our own citizens. I believe we should establish in Washington a "Na- tional Showcase" program to display the very excellent productions of our institutions of higher education. The primary purpose of the showcase would be to encourage the further development of all the arts in colleges and univer- sities. The time is upon us to establish a permanent program to encourage our young people with interest and talent in the arts, instead of leaving their dis- covery-as in the case of Van Cliburn-to the U.S.S.R. This bill would also inaugurate an International Olympiad of the Arts and Sciences. This program, to be held every 2 years, would present high quality international exhibitions, productions, festivals, and programs in the arts and sciences-designed to strengthen the mutual understanding of the peoples of the world. As I see it, after communicating with the heads of all the nations of the world, our President would address their representatives at a conference in Washington inviting nations to join with the United States in competitions in the arts and sciences in five main fields. In my opinion, we should have an international folk festival, a festival of drama and the dance, a music festival which would involve individual competi- tions in all of the principal instruments in use today throughout the world, a competition in painting and sculpture, and, a competition in the sciences. This Olympiad could provide many benefits. It would serve as an opportunity for young artists or scientists to win distinction. It would give other peoples a chance to learn that Americans are not simply materialistic, money-minded individuals. Finally, the world would be greatly enriched by this exchange of artistic and scientific ideas. I think that there would be enough public interest after the first Olympiad to warrant reliance upon subscriptions from individuals and organizations to finance future American participation. Today we have seen only a few of the ways in which the Federal Government might further the cause of the arts in this country. We certainly already know that the principle of Government assistance to promote cultural activities is not a new one in the world's history. Indeed, it is very much in line with the philosophy of the Founding Fathers of our own country. Surely, Americans have matured enough as a people to recognize that we need no longer remain colonials in culture or continue to suffer from a national cultural inferiority complex PAGENO="0348" 340. AID TO FINE ARTS In conclusion, may I leave you with this profound statement of the philosophy which I believe this Nation should perpetuate. As Mr. Howard Taubman, music critic for the New York Times, has so ably expressed it: "* * * We must become convinced by cultivation and experience that the arts are a vital element of any civilized society. Only if we achieve this conviction and wisdom shall we go on to integrate the arts in the fabric of everyday living. Then we shall proceed to do the things that remain to be done. * "Our attitude toward the arts will undergo a change when we learn to admire wholeheartedly achievements of the mind that do not produce an immediate monetary gain, when a Trendex count is. not used to thrust low-grade conformity on the bulk of what is presented on a mass medium `like television. Let us learn from Europe-and from our neighbors to the south as well-that some of our wealth and ingenuity should be employed to provide our people not only with the material comforts but also.with the adventures of the heart and mind that bring compassion and exaltation into our lives." 10 Mr. THOMPSON. At this time we shall hear from Congressman Emanuel Cefler. of New York~ STATEMENT OP HON EMANUEL CELLER, A REPRESENTATIVE IN CONGRESS PROM THE STATE OP NEW YORK Mr. CELLER. I am indeed pleased to have this opport.unity to set before the members of this subcommittee the reasons for the introduc- tion of my bills, H.R. 3509 to est.ablish a program of grants to States for the development of. programs and projects in the arts, and H.R. 3510 to provide for the establishment of. a Federal Advisory Council on the Arts to assist in the growth and development of the fine arts in the United States. An exciting note was struck by President Kennedy in his inaugural address, wherein, he placed the development of the arts among the ohjectives to be sought for the common good. This is in line with the thinking of many Members who, for many years, have tried through legislative proposals to establish a Federal Advisory Council on the Arts and in addition, to provide for Federal aid for the fine arts at the State level. Again, as in the past, I have introduced these two bills which are designed to promote and encourage the cultural development within the United States. I maintain that we in the United States are not bereft of develop- ment of the liberal a.nd fine arts. Great contributions are being and can be made, by the fine arts to the morale, health, and general welfare of the Nation. However, it is the very richness of our. art flowing through the various strata of the various regions of our country that gives rise to the need for a Federal Advisory Council on the Arts. Such a council would undertake to make studies and recommendations, which would serve to clarify existing conditions in the light of existing needs in the field of art. In essence, it is the development and expan- sion of the arts that I believe to be of significance. A Federal Advisory Council in and of itself is but doing half the job. What is needed is a broa.d and comprehensive program of as- sistance to the several States in developing projects and programs in the fine arts. This can best be done, I believe, by a program of grants to States. The bill I have introduced seeks to establish in the execu~ tive branch of the Government, specifically in the Department of Health, Education, and Welfare, the appropriate machinery whereby 10 York Times magazine, Dec. 7, 1959, p. 69. PAGENO="0349" AID ~ FINE ARTS 341 aid and counsel can be given tO private and piThlid agencies within the States whose purpose it is to stimulate the growth and appreciation of the liberal and fine arts. There is abundant proof of an enormous hunger for all aspects of the fine arts. Little theaters, small orchestras, small art schools are all struggling to emerge from their chrysalis, and we can help them estab- lish themselves with just the little encouragement that a grant to the States would be. Countries abroad have all known the need to spon- sor and give aid so that the theaters and operas of their lands could get their initial support. Our own country, via the State Department's educational exchange and cultural exchange has done magnificient work in bringing to the attention of the world, our enormous cultural inheritance and development. The scale is still a small one, however, andour needs are great. - It is my hope that this Congress will act without delay on these pro- posals. Mr. THOMPSON. Our next witness will be the Honorable Frank Chelf of Kentucky. STATEMENT OP HON. PRANK CHELP, A REPRESENTATIVE IN CONGRESS PROM THE STATE OP KENTUCKY Mr. CHELF. Mr. Chairman, in his 1955 message~ on the state of the Union former President Dwight Eisenhower said that- In the advancement of the various activities which will make our civilization endure and flourish, the Federal Government should do more to give official recog- nition to the importance of the arts and other cultural activities At that time General Eisenhower recommended the establishment of a Federal Advisory Council on the Arts. This measure has been before this committee for the ensuring 6 years, and it will be appreciated if this measure, which Congressman Thompson and Senator Hubert H. Humphrey have continuously spon- sored, is reported favorably to the floor for consideration by the House. The budget was estimated by the previous administration to be $50,- 000 a year. It passed the Senate in 1956 and reached the House floor from this committee last year. S It even got on the Consent Calendar at that time~ Another measure which should have the support, of this subcommit- tee is the bill which Congressm'in Frank Thompson, Adam Clayton Powell, Carroll D. Kearns, Emanuel Celler, Senator Joseph Clark and I have cosponsored. This is H R 2227 and H R 4174 and related bills This would provide a total sum of $5 million and establish a Fed eral-State grant-in-aid plan to aid the arts. - This money would be used to help the several States inventery ex- isting programs and assist those now underway and help develop new programs. President Kennedy during last fall's campaign wrote in a, statement printed in Equity magazine, which is published by the AFL-CIO Actors' Equity Association that- I am in full sympathy with the proposal for a federally supported foundation to provide encouragement and opportunity to nonprofit, private and civic groups PAGENO="0350" 342 AID TO FINE AETS in the performing arts. When so many other nations officially recognize and support the performing arts as part of their~national cultural heritage, it seems to me unfortunate that the United States has been so slow in coming to a similar recognition. The United States is almost; the only nation in the world today which does not support the fine arts as a national policy. Every nation and people aids those things. which it honors, and certainly it is time that we here in our country gave some concrete evidence that we believed in the importance of those activities which make our civilization endure and flourish. It is ironic that many of the countries around the world which have been assisted in their economic recovery by the $80 billion which we have contributed through the mutual security program and the Mar- shall plan have been enabled thereby to aid the fine arts. I include as part of my remarks a letter I have received from Mrs. Thomas D. Winstead, chairman, Fine Arts Department, Kentucky Federation of Womens Clubs. I include some items bearing on my bill to make the National Cultural Center Act permanent. (The matters referred to follow:) RINEYVILLE, Kr., January 13, 1961. Hon. FRANK CURLs', House of Representatives, Washington. D.C. DEAR MR. CHELF: I was most interested to read about the bill you recently introduced in Congress which would enable each State to receive up to $100,000 of Federal funds for supporting cultural activities. This is a wonderful, worthwhile action you have undertaken and this depart- ment wishes to commend you highly for such a far-reaching project. It is all too true that in a nation abounding in all of the necessities and a good many of the luxuries of the good life, we are sadly lacking in resources for the ad- vancement of sustained cultural programs. Would that we had more Con- gre~men with the insight and courage to do something aboutit. .1 am sure I speak for all of the 15,000 members of the Kentucky Federation of Women's Clubs when I say we are back of this all the way and most~willlng to do anything we can to assure the passage of this bill. Sincerely, Mrs. T. P. Wixsrran. Chairman, Fine Arts Department, Kentucky Federation of Womens Clubs. [H.R. 5617, 87th Cong., 1st sess.J A BILL To amend the National Cultural Center Act so as to make It permanent and to ~iprovide fora lh1.ng:memoriai to pastPresiclentw of the United States~ lncludtngWoodrow Wilson, Franklin Delano Roosevelt, and Theodore Roosevelt Be it enacted. by the Senate and House of Representatives of the United States of America. in Congress assembled, That section 3 of the National Cultural Center Act (72 Stat. 1699) is amended to read as follows: "SEc. 3. The Board shall provide, by construction, alteration, or otherwise, for the establishment, on behalf of the Smithsonian Institution; of a National Center of the Performing Arts which shall be designated as such and dedicated as a living memorial to past Presidents of the United States including Woodrow Wilson, Franklin Delano Roosevelt, and Theodore Roosevelt. Such center shall be located on a site or sites in the District of Columbia selected by the Board of Regents of the Smithsonian Institution (hereafter in this section referred to as the `Regents') and shall consist. of such auditoriums, libraries, and art gal- leries as will encourage and assist in advancing and in raising the standards of the performing arts for children and adults, in the professional, educational, amateur, and recreational fields, in the Nation's Capital as well as throughout the Nation. Such facilities as may be suitable, or which can be made suitable,. and which are owned by the Federal Government, or which are in private owner- ship and which may be offered the Regents or the Board on reasonable terms,. PAGENO="0351" AID TO FINE ARTS 343 shall be utilized for the purposes of this Act. The Regents shall select such facilities and sites. The Board shall provide for the establishment of such center on such site or sites as may be selected by the Regents from among the following: "(1) the area in the District of Columbia bounded by the Inner Loop Freeway on the east, the Theodore Roosevelt Bridge approaches on the south, Rock Creek Parkway on the west, New Hampshire Avenue and F Street on the north; "(2) suitable sites at the Naval Gun Factory in the District of Columbia; "(3) suitable sites in Potomac Park; "(4) suitable sites fronting on, or near, the Mall; "(5) real property (including existing improvements thereon) fronting on Lafayette Park in the District of Columbia; "(6) any real property (including existing improvements thereon) in private ownership which may be offered the Regents on reasonable terms or which they may acquire on reasonable terms through solicitation or other- wise; and "(7) other sites (including improvements thereon) in the District of Columbia determined by the Regents to be suitable. The Board shall acquire by purchase or otherwise such real property as may be necessary to provide for the establishment of the National Cultural Center of the Performing Arts and related facilities." SEc. 2. Such Act is further amended by striking out "National Cultural Cen- ter" each place it appears therein (except section 7) and inserting in lieu thereof "National Center of the Performing Arts." SEc. 3. Section 7 of such Act is repealed. [From the Congressional Record, Mar. 24, 1961] CONGRESSMAN FRANK CIIELF'S PLAN FOR A LIVING MEMORIAL TO PAST PRESIDENTS HAS GROWING SUPPORT (Extension of remarks of Hon. Harris B. McDowell, Jr., of Delaware, in the House of Representatives, Friday, March 24, 1961) Mr. MCDOWELL. Mr. Speaker, our distinguished colleague, the gentleman from Kentucky [Mr. Chelfj, has introduced an extremely interesting bill, H.R. 5617, to provide for a living memorial to past Presidents of the United States, in- cluding Woodrow Wilson, Franklin Delano Roosevelt, and Theodore Roosevelt. Congressman Chelf has said that "unless plans for a living memorial or memorials are vigorously pushed, the Nation's Capital will be overrun with statuary and resemble a graveyard." It has been pointed out by such publications as the New York Times that there are enarly 200 statues to statesmen, many of them nearly forgotten, in the confines of the Federal City. The major newspapers in the Nation's Capital have grown increasingly critical of the memorials proposed for our past Presidents, and the suggestion is being heard more and more frequently that living memorials for our past Presidents make a lot more sense than many of the plans for memorials currently being considered. I include as part of my remarks a letter which was published in the always informative and readable "Letters to the Editor" column of the Washington (D.C.) Evening Star: "LIvING MEMORIAL "Representative Frank Chelf, Democrat, of Kentucky, deserves the thanks of a grateful and patriotic public for his significant new bill to make the National Cultural Center permanent. Such a step is long overdue. Haste makes waste, and if we have more time to examine the plans for the center, and to raise the money, everyone, including the donors, will be more satisfied and the re- suits will be more enduring. "At the same time, Chelf has taken steps to provide that the National Cul- tural Center shall, with its various facilities, such as auditoriums, libraries, and art galleries, be a living memorial to all past Presidents. "His reasoning is sound. He points out that `unless plans for a living memorial or memorials are vigorously pushed, the Nation's Capital will be overrun with statuary and resemble a graveyard.' PAGENO="0352" 344 AID TO FINE ARTS * "The danger is real enough, heaven knows. Many people and publications have noted that, at last count, there were about 200 statues to statesmen, many of them forgotten, in the confines of the Federal -City. * "it is hard to understand how anyone could object to making a great audi- torium, library, or art gallery a memorial to one or more of our great Presidents. It may be predicted with certainty, however, that backers of the memorials to Woodrow Wilson, the two Roosevelts (FDR and Theodore) and to other Presi- dents will find persuasive reasons for not combining their memorials with others in truly great memorials to all past Presidents. "The backers of the National Culture Center can reasonably counter, however, that the center is a concept big enough and important enough to honor all our Presidents. "It is to be hoped that President Kennedy will support this new and signifi- cant plan by Mr. Chelf and that Congress will enact it into law. For the Cheif plan, if enacted, could really put some steam into the drive for the National Cultural Center. "THoMAs A. WAGGONER." [From the Congressional Record Appendix, Jan. 146, 1961] A PLAN To BRING TOGETHER MEMORIALS TO THEODORE ROOSEVELT, Woonaow WIL- - SON, FRANKLIN D. ROOSEVELT, AND OTHER PAST PRESIDENTS HAS GROWING SUPPORT (Extension of remarks of Hon. Frank Thompson, Jr., of New Jersey, in the House of Representatives, Monday, January 16, 1961) Mr. Thompson of New Jersey. Mr. Speaker, the major newspapers in the Nation's Capital have grown increasingly critical of the memorials proposed for our past Presidents, and the suggestion is being heard more and more frequently that living* memorials for our past Presidents make a lot more sense than many of the plans presently being considered. In the Washington (D.C.) Daily News, January 10, 1961, Peter Edson, the widely syndicated columnist for the NewspaperS Enterprise Association (NEA) wrote: - "A plan to bring together memorials to Theodore Roosevelt, Franklin D. Roose- velt, and other great Presidents as part Of the proposed National Cultural Center is being talked up here. "The idea has grown more or less spontaneously from general i5ublië criticism of the abstract art designs prepared for the two Roosevelt memorials in the last Ornonths." Then Mr. Edson goes- on to say: "With both of these examples of futuristic art on the pan, considerable feeling exists that something more living, more creative and- more useful to more peo- ple, something which contributes more to their enjoyment of life, would better memorialize the Spirits of the two great progressive Presidents." - - Frederick Gutheim, in the Washington (D.C.) Post and Times Herald makes the follOwing suggestion: "Competition has, - however, greatly clarified- the complex issues posed by a modern memorial, but the Roosevelt Memorial Commission should regard this as an exploratory exercise on the basis of which it can recommend to Congress and not as the answer-to its quest." - - * * * - - -- - - A leading NOw Jersey newspaper, the Trentonian, Trenton, N,J., inquires: "May we respectfully urge that you use your good offices to help stay the inflic- tion of such a garish monstrosity upon our Nation's beloved Capital and the memory of the man it would seek to honor? At the same time, most Ameri- cans, we feel sure, would welcome dedicated effort by you and other culturally minded people to impose upon bright-eyed planners and designers a proper re spect for the traditional -in a part of our country where traditiOn must be held sacred." - - - - - - - - A writer in the Washington (D.C.) Evening Star, January 13, 1961, reports: "Apropos of the new interest in making the monument -to F. D. R. a living memorial by incorporating it in the National Cultural Center, Mrs. Biddle said that her husband originally bad suggested making the memorial into a living one and had met with objections from some of the Congress. - PAGENO="0353" AID TO FINE ARTS 345 "How anyone could object to making an auditorium in the Center a memorial to a: President of the United States, with his greatest words engraved, not on some outdoor stones for a comparative few to see, but on the walls within where hundreds would see them at one time, is hard to understand. "Each section of the Center could be (levoted to a President's memorial. The beautiful outer terrace facing Roosevelt Island could be Theodore Roosevelt's memorial. The grand salon in the center of the building might be F. D. R.'s memorial. The concert hail could be Mr. Truman's. And one of the sweeping plazas Mr. Eisenhower's." The Chairman of the Committee of 100 on the Federal City, Neill Phillips, in a recent letter to Horace M. Aibright, a member of the Theodore Roosevelt Asso- ciation, noted that living memorials are becoming more and more popular, and he pointed to the National Cultural Center as "a most important example of a living memorial" and suggested one of the Center's units be named in honor of Presi- dent Theodore Roosevelt. THE PARK OF THE PRESIDENTS Mr. Speaker, it would be only fair to report here that there is a second proposal to commemorate our Presidents, and this plan would rename Lafayette Square "The Park of the Presidents." The proponents of this plan are powerfully influenced by the tremendous finan- cial support which the Federal Government has given and is giving to the famous Independence National Historical Park in downtown Philadelphia. Over 100 bills were introduced in both the House and the Senate during the 85th Congress which would have preserved Lafayette Park. During the 86th Congress, many distinguished Members of Congress also in- troduced bills to preserve the historic buildings on Lafayette Square. President-elect John F. Kennedy introduced S. 3280 on March 24, 1960, and he was quickly joined by Senators Paul Douglas, Wayne Morse, Ernest Gruen- ing, Michael J. Mansfield, Thomas C. Hennings, Jr., and Hubert H. Humphrey. Companion bills were introduced by a number of Members of the House of Rep- resentatives, and Senators Eugene J. McCarthy and John Sherman Cooper worked hard to save these buildings. President-elect Kennedy said at that time that "the Dolly Madison House, the Benjamin Tayloe House, and the Belasco Theatre have long served as an inspira- tion to generations of Americans who have visited their Capital City." If Lafayette Square were renamed "the Park of the Presidents," if it were extended the same protective care which the Federal Government has extended to Independence National Historical Park, if the buildings on Madison Place and Jackson Place were preserved for the benefit of future Americans, then, indeed, according to this plan's proponents, this would be a worthy memorial in per- petuity to all our past Presidents. I include here as part of my remarks articles which indicate the lively inter- est of the major newsnaners in the Nation's Capital in this subject of living memorials to our past Presidents: [From the Trenton (N.J~) Trentonlan, Tan. (1, 1901J LRTTER TO CONGRESSMAN ThoMPsoN DEAR CONGRESSMAN: TJntloubtedly it has come to your attention, as it has to ours, that the Franklin Delano Roosevelt Memorial Commission is considering plans to decorate an acre of precious Washington, D.C., land wih a cluster of eight concrete slabs as a memorial to President Roosevelt. The slabs would serve to preserve, in a way, famous quotations from his sneeches. The respect you enjoy as a leading advocate of our country's cultural advance- ment has been well and justly earned. In view thereof, it is our conviction that your keen sensibilities may well be as offended as are those of others by this pronosal, which already has been described as ridiculous arid worse. We feel sure that it is hardly necessary to point out to you that such pre- tentiousness is not in keening with the late President's pereonality. nor with his humanitarian concern for those afflicatel as he was, nor with the high place he holds as a great wartime leader of this Nation and the free world. It may also have occurred to you that selection of an appropriate memorial to President Roosevelt might be tabled for a while in order to avoid having it become bogged down in controversy. With good reason, history usually does not pass judgment upon a man until he has been dead for at least 25 years. 7O259-61--23 PAGENO="0354" 346 AID TO FINE ARTS For the moment, however, may we respectfully urge that you use your good offices to help stay the infliction of such a garish monstrosity upon our Nation's beloved capital and the memory of the man it would seek to honor? At the same time, most Americans, we feel sure, would welcome dedicated effort by you and other culturally minded people to impc~e upon bright-eyed planners and designers a proper respect for the traditional in a part of our country where tradition must be held sacred. [From the Washington Daily News, Jan. 10, 1961] NEW IDEA Is GETTING U~ STEAM-THREE MEMORIALS IN ONE? (By Peter Edson) A plan to bring together memorials to Theodore Roosevelt, Franklin D. Roosevelt, and other great Presidents as parts of the proposed National Cultural Center is being talked up here. The idea has grown more or less spontaneously from general public criticism of the abstractart designs prepared for the two Roosevelt memorials in the last 6 months. Mrs. Alice Roosevelt Longworth, T. R.'s daughter, said the celestial sphere design prepared to honor her father would desecrate the memory of anyone. Similarly, Representative JAMES ROOSEVELT, Democrat, of California, F.D.R.'s eldest son, declared in what will probably be the greatest understatement of his career, "I have a feeling father would have been for something a little less modernistic." With both of these examples of futuristic art on the pan, considerable feeling exists that something more living, more creative, and more useful to more people, something which contributes more to their enjoyment of life, would better me- morialize the spirits of the two great progressive Presidents. The proposal to combine the two Roosevelt memorials and possibly others into the Cultural Center was a somewhat natural development. It has met with a generally favorable response. MARVELOUS "I think it is a marvelous idea," says Representative Frank Thompson, Demo- crat, of New Jersey, one of the principal sponsors of the Cultural Center authori- zation legislation. "I think it would provide much more appropriate memorials to these two great men." Representative Thompson called the Theodore Roosevelt Celestial Sphere de- sign a junglegym when it was unveiled last summer. Franklin P. Roosevelt, Jr., said the proposed memorial to his father was reminiscent of Stonehenge, the ancient Druid ruins in England. Backers of these two separate projects object to incorporating the memorials to their heroes with others. They don't want the importance of the President they want to honor above all others subordinated by anything bigger. They all seem to be trying to surpass the Washington, Jefferson, and Lincoln Memorials, which would be difficult if not impossible. CEMETERY ART? One other criticism frequently given to Washington's "cemetery art," is that the city is already too full of monuments to the past and what it needs is more recognition of the future. The answer to this offered by the new idea for the cultural center is that it is a concept big enough to honor a dozen Presidents-or all of them. The idea of combining a number of memorials in the cultural center has not been placed before its Board of Trustees, which was appointed by President Eisenhower. Officials of the center decline to make any comment on the proposal because they don't want to be put in the position of trying to grab others' funds. HOW MUCH? Cost of the Franklin D. Roosevelt Memorial has been put at $4.25 million, all to be raised by public subscriptiOn. The Theodore Roosevelt Memorial Association has already raised and spent over $800,000 for purchase of what is now called Theodore Roosevelt Island in the Potomac and for design of the celestial sphere to be erected at one end. PAGENO="0355" AID TO FINE ARTS 347 Actual construction costs have been estimated at $886,000. The Theodore Roosevelt Association wants Congress to appropriate this sumsince the prospects for raising it by public subscription are dim. The House went along with this last year, but the Senate held it up until designs acceptable to T.R.'s family could be prepared. Meanwhile, the National Cultural Center project is not in flourishing financial condition, either. Its total cost has been estimated at $75 million, also to be raised by public subscription. It was authorized by Congress 2 years ago, with the condition that its funds be pledged and work started by 1963. So far, the center has raised only $1.5 million, $500,000 of which came from the Hattie Strong Foundation. Mrs. Strong's son, L. Corrin Strong, is executive vice chairman of the cultural center. The center plan has been criticized as too grandiose and costly. If broken down into a number of projects, as separatememorials, it might be more feasible. Cost of the center's grand salon-big enough for all three of the inaugural balls now being planned in President-elect, Kennedy's honor-has been put at $5 million~ The river front terraces, landing and open air amphitheater would cost another $5 million. The opera house, concert hail and playhouse-each seating 3,000-would cost up to $6 million apiece. Two smaller auditoriums would cost $3 million to $4 million. Plazas, corridors, approaches, underground parking garage for 2,000 cars, foundations, restaurants, rehearsal halls, studios, recording facilities, screening rooms and landscaping would cost more than $30 million. [From the Washington (D.C.) Post and Times Herald, Dec. 31, 1960] LOOKING AT ARCHITECTURE-F.D.R. TRIBUTE LIKE BOOK ENDs OUT OF DEIu FREEZE (By Frederick Gutheim) The winning design in the Franklin D. Roosevelt competition is not architec- ture, but literature. It should not be built. The skyline of reinforced concrete slabs, a vertiable San Giminano in its sculp- tural forms, is embellished with quotations from the late President. However, it is the man who should be memoralized, not his rhetoric. This should be a memorial, not a legal brief. Looked at in sculptural terms, one's first impression is of a set of book ends- just out of the deep freeze. Later, when the high-shouldered, stylized, abstract forms have been studied more carefully, and especially as they may be seen from the air, there is the suggestion one is looking at a committee. There is even more the impression of pieces of paper, inscribed to be sure with lapidary words, but offering in esthetic satisfaction hardly more than a crick in the neck. It will be asserted that as the visitor moves about the proposed memorial he will be thrilled by the dynamic movement of these white planes, coated with marble chips. Much will be made of the transparency of the design, through which the landscape can be seen. These, however, are negative characteristics; It is not enough to say this plan is simple or meets requirements. Roosevelt was anything but negative. Roosevelt does not have to stand on the record. He does not have to affirm or reaffirm. His monument should arouse in the hearts of men what Roosevelt at his greatest evoked-humanity, freedom, charity, growth. The memorial design, like the majority of the entries that received mentions, achieves its effect by exploiting the sources of modern structural principles- in this case reinforced concrete. But it lacks the vigor and solidity of John Johansen's scheme, which it greatly resembles. As a sculptural form it is too bland compared with.. the vigorous and suggestive project offered by Percival Goodman or the faintly ruinous design entered by Davis, Brody, and Wisnierski. Viewing the six entries and a couple of dozen others visited by the Roosevelt Memorial Commission, one has sympathy with the difficult problem faced by the jury. Competition has however greatly clarified the complex issues posed by a modern memorial, but the Roosevelt Memorial Commission should regard this as an exploratory exercise on the basis of which to continue its search for an appropriate memorial which it can recommend to Congress and not as the answer to its quest. PAGENO="0356" 348 AID TO FINE ARTS Congress this year will be asked to appropriate close to $10 million to build the Jeffei son ~\ itionul Expansion Memorial in St Louis selected from a similar competition 12 `years ago It w ould be a mistuke to think that the Roosevelt Memori'il need be hastily uuthoiized The Commission would do well to recog nize the realtask put to it and continue Its effOrts. One reason to urge this course of action is the genuine interest and promise of munv of the more thun 600 designs submitted These designs `irgue th'it our `ilchitectb `md associated designeic have the capacity to iesolve the profound ci itui 11 `md estliet c difllcultie'~ of the mo em memoriul Full opyortun tv should be piovided fom public study and unalvsis of "s mony entiles is possthle `md the public exhib tion of the winnirg designs is the fist step in th s die ~ion An initial review shows the selected designs grouped. in several categories. The 1irge~t ru nbei `ne exploiting structui'ml form with sculptuiui oveitones Ihice of the most niteiestm.. p au mttem1iting to oieicome the flit site with `m moont fiom which i icitoi-. can v ew the londs"ipe On1v one e-mti~ ~ttempted flinch ii the w `iv of i formal pli7l `md ielatrs-elv few- lint emphasis upon coi~veñtioñal `sculpture Or mural painting.. ~There were also but few solutions offered that treated, the 66-acre site as a park. Two picpo~'ils of ~peciol iLterest w em e 1 v Schv eu em `mud uletcuif (t"e only `V\ `ishing ton firm to place) and a teamheaded h~y Robert `Venturi. Among the winning six. the perceptive design created by Roif Miller deserves poiticul'mi mention It mnuv be suspected tliut its quiet and modest `mppe'uance in the piesentotion would tie sugnufleuntly oieicome when seen in its finol foim as the dramatic perspective from the Virginia ,shore of the POtomac indicates. This is not the time, how-ever. to attempt a measured evaluation of the re- sults of the competition but to react sharply and instinctively t'm the winning solution. As a structural concept and a sculptural form it is cOld and mute. [From the Evening Star. Jan. 13. 19(311 F.D.R. MEMORIAL (By Betty Beale). F.D.R. memorial models on display at the opening of the Corcoran Biennial tonight will draw' a flock Of interested and maybe heated observers. Francis Biddle, a member of the commission that chose the now controversial bookend slabs. -xiii he there with his wife and the guests they will entertain at dinner beforehand. Among their guests w'ill be Senator and Mrs. Hubert Humphrey, Senator Neuberger, Mr. and Mrs. Sumner Welles. the David Finleys. and from the commission, Representative Katharine St. George, Edmund Bacon, city planner of Philadelphia. and Jim Rowe. Apropos of the new interest in making the monument to F.D.R. a. living memorial by incorporating it in the National Cultural Center, Mrs. Biddle said that her husband originally had suggested making the memorial into a living one and had met with objections from some of the Congress. How- anyone could object to making an auditorium in the center a memorial to a President of the United States, with his greatest words engraved, not on some outdoor stones for a comparative few to see. but on the walls within where hundreds would see them at one time Is hard to understand. Each .section of the center could be devoted to a President's memorial. The beautiful outer terrace facing Roosevelt Island could be Theodore Roosevelt's memorial. The grand salon in the center of the building might be F.D.R.'s memorial. The concert hail could be Mr. Truman's. And one of the sweeping plazas Mr. Eisenhower's. Some heads may roll on the cultural center board of trustees when Jack Kennedy becomes President. It is understood that he is interested in the center and prepared to give it the impetus it needs by getting rid of some of the dead wood chosen by his predecessor. Mr. Eisenhower. a military man, has never been particularly interested in the arts, to put it mildly, and progress of the center has dragged because of lack of dynamic leadership at the top. PAGENO="0357" AID TO FINE ARTS 349 [From. the Washington Post, rari. 16, 19611 STILL FAVORS WILDLIFE SANCTUARY-CULTURAL CENTER AS MEMORIAL TO T.R. REJECTED EMPHATICALLY BY DAUGHTER (By Constance Feeley) A new proposal for a Theodore Roosevelt memorial came to light yesterday, but it got a shadowy reception from T.R.'s daughter, Alice Roosevelt Longworth. The proposal was made by Neill Phillips, chairman of the influential Commit- tee of One Hundred on the Federal City, who thinks part of Washington's planned $75 million cultural center could be dedicated as a living memorial to the late President. Informed of the idea, Mrs. Longworth, 76, indicated she has scant interest in massive cultural projects. "The hell with the cultural center as a memorial," she said. "I flee from thinking about things like that. It has nothing to do with a memorial to my father." By act of Congress, the surviving children of Theodore Roosevelt have the right to approve any design for a memorial. The act was passed last year when Congress killed a proposal for a huge celestial sphere on Roosevelt Island in the Potomac. It died a day after Mrs. Longworth called it, with characteristic verve, a globular jungle gym. She thinks Roosevelt Island should be preserved as a wildlife sanctuary, with only a modest type of memorial to her father. Phillips, a retired rear admiral, agrees that parks and open spaces in Wash- ington have reached the saturation point in monuments, and he said as much in a recent letter to conservationist Horace M. Albright, member of the Theodore Roosevelt Association which is considering designs for the memorial. Noting that living memorials are becoming more and more popular, Phillips pointed to the cultural center as a most important example of a living memorial and suggested one of the center's units be named in honor of T.R. In his letter, Phillips made passing reference to a proposed memorial for another Roosevelt, the late President Franklin D. That structure would consist of 8 concrete tablets ranging up to 165 feet in height. Phillips said it has caused widespread consternation. Mrs. Longworth said she had nothing particular to say about the F.D.R. monument, because she is not involved in approving it.. "It's a strange and curious thing," she remarked. "Enormous, isn't it?" [From the Sunday Slar, Washington, D.C., May 14, 1961] CITIES AND PEOPLE-MORE OR FEWER WORKS OF AnT? (By Robert r. Lewis) Two thousand years ago, the debate over monuments and memorials was a hpt one, too. Long before Secretary Ildall, the philosophers were wondering whether such reminders of men and events had any value. Some of the loftiest commentators pretended toscorn thewhole idea. "I would rather have men ask, after I am dead, why I have no monument, than why I have one," said Marcus Cato. A couple of hundred years later, Pliny the. Younger called monuments "su- perfluous." "If our lives deserve it, our memories will endure," said he. Euripedes agreed. . . "The monuments of noble men are their virtues," he said.. Such views have a plausible ring. But they all come from writers who hoped their works would live, be read, and serve as memorials, on paper, to their lives and thought. . . . . . . . "The most lasting monuments are the paper monuments," Thomas Fuller said. Writers, especially, seem to think this. One writer who felt differently was William Shakespeare. It was his opinion that a man should think about arranging his own memorial. 70259-61---24 PAGENO="0358" 350 AID TO FINE ARTS Otherwise, he said, "he shall live no longer than the bell rings and the widow weeps." But the bard was a bit wrong, surely. He did not reckon with mankind's gratitude. Nor with civilization's compul- sion to pay its debt. People do want reminders of men who have led them in thought and action. They do not want to forget. This is where art comes in. It is part of mankind's memory. Life is short, but art is long, as the Latin phrase book says. Art lasts. Civilized man can express deep convictions in this way and be long remembered. "Art," said Aristotle, "is a higher type of knowledge than experience." The issues Mr. Tjdall has raised about art and its place in cities are important. The debate should help quell some of the confusion that has arisea over whether, in the future, we should confine ourselves only to "living memorials" for use, as against the art that can be used for nothing except to look at, be in- spired by, and to symbolize goals for the good life. The Lincoln Memorial is not a "living memorial." It is art for art's sake. It represents a man. But it does more than that. For within this sculpture are enshrined some of the most important ideas by which Americans organize their democratic behavior. Could Washington ever be the same place without it? Cities throughout the world are filled with monuments, sculpture, and paint- ings that help bind one age to another. If art is desirable, as men in all centuries have seemed to believe it is, per- haps the problem is not that there is too much of it here but that what does exist appears to claim too much space. One of the most understanding of all students of city design had a most per- ceptive comment on this. He was Camillo Sitte, a Viennese who wrote a book called "The Art of Build- ing Cities." It was translated from the German over 15 years ago by Charles T. Stewart, a Washingtonian, and is now, unfortunately, out of print. On this point, Mr. Sitte wrote: "The fundamental difference between the procedures of former times and those of today rests in the fact that we constantly seek the largest possible space for each little statue." The early Greeks and Romans, Mr. Sitte explained, "erected their monuments by the sides of public places," instead of in the center. Thus were ancient cities able to accommodate the many sculptured treasures that still testify to their everlasting glory. Mr. THo~n'soN. We will now hear from the Honorable Frances P. Bolton of Ohio. STATEMENT BY HON. PRANCES P. BOLTON, A REPRESENTATIVE IN CONGRESS PROM THE STATE OP OlilO Mrs. BOLTON. Mr. Chairman, thank you for giving me an oppor- tunity to register my wholehearted support of the legislation to pro- vide for the establishment of a Federal Advisory Council on the Arts to assist in the growth and development of the fine arts in the United States. My own bill toward this objective is H.R. 3640. This legislation was originally proposed in the 1955 state of the Union message of President Eisenhower. He said at that time that: "In the advancement of the various activities which will make our civilization endure and flourish the Federal Government should do more to give official recognition to the importance of the arts and other cultural activities." He said at that time that he would recom- mend the establishment of a Federal Advisory Council on the Arts "to advise the Federal Government on ways to encourage artistic PAGENO="0359" AID TO FINE ARTS 351 and cultural endeavor and appreciation." Since then bills to imple- ment this proposal have been introduced in each Congress on a bi- partisan basis. The Council which is proposed would be established in the Depart- ment of Health, Education, and Welfare and would be composed of 21 outstanding private citizens widely recognized for their knowledge or experience or interest in one or more arts such as music, drama, dance, literature, et cetera. Members would be appointed by the President with the advice and consent of the Senate for 6-year terms. The function of the Council would be to act as a clearing house for ideas and recommendations and to make studies and proposals on methods to encourage private initiative in the arts and promote co- operation with local, State, and Federal departments or agencies to foster artistic and cultural endeavors. The creation of such a council would involve no expenditures save those of a~ modest per diem allow- ance for the Council Members and staff expenses. The Council would administer no subsidies. It would give away no funds, but it would provide a significant national impetus to the systematic exchange of views on artistic matters. There is a profound national interest in the encouragement and de- velopment of both the practice and appreciation of the arts by our citizens. Not only does art enrich the lives of individual citizens, but our national life and the impact of our country abroad is enhanced by cultural development. In a variety of ways, activities of the Fed- eral Government have an effect upon artistic and cultural develop- ment. However, there is today no means for coordinating these activi- ties. The enactment of this proposal to establish a Federal Advisory Council on the Arts would therefore meet a long-recognized need. I hope the Select Subcommittee on Education will act favorably on this legislation and that early action will follow in the House and Senate. Mr. THoMPsoN. Our next witness is the Honorable John V. Lindsay, a Congressman from the State of New York. STATEMENT OP HON. JOHN V. LINDSAY, A REPRESENTATIVE IN CONGRESS PROM THE STATE OP NEW YORK Mr. LINDSAY. Mr. Chairman, I am grateful to the subcommittee for allowing me this opportunity to speak on arts legislation in general and to register my wholehearted support of the bills to provide for the establishment of a Federal Advisory Council on the Arts now before you for consideration. I have myself introduced H.R. 5408 to estab~ lish such a Council. It is my privilege to represent the district in New York City which includes what is undoubtedly America's premier art cent~r. The bounds of my congressional district include the Metropolitan Opera, the Broadway theaters, the Metropolitan Museum, the Museum of Modern Art, Frank Lloyd Wright's Guggenheim Museum, the New York City Ballet, most of Greenwich Village, Rockefeller Center, and Madison Avenue with their television and radio broadcasting systems. The growth and development of the fine arts in the United States are certainly in the national interest. Beyond the preservation of our national freedom and of our constitutional rights, what greater con- PAGENO="0360" 352 AID TO FINE ARTS cern can we as individuals possibly have than to enhance arid strength- en the cultural aspects of our civilization. We are engaged in a great effort to strengthen our security. Surely it is also in the national in- terest to strengthen the arts. A country is not strong if its culture is neglected while other areas of human endeavor advance. The extent to which we advance culturally directly bears on our international posture. The universal langauage of the arts knows no national boundaries and cultural exchanges between countries can establish a very healthy rapport between peoples. The underlying question before this subcommittee is to what extent should government be concerned with the cultural well-being of its citizenry? In the United States, if you search through the pages of the Congressional Record back through the decades, you will not find a ready answer to this question. Since the 1870's, thousands of pages of hearings and floor discussions have been printed, debating the ques- tioii of direct Federal subsidies to the arts. In the process, little by little, without the guidance of any master plan or general philosophy, the Congress has put the Federal Government in the art business. It has been a perfectly natural development. But it has not been system- atic. Let's see how it happened. In 1910, Congress created the Commission of Fine Arts as guardian of the L'Enfant plan for development of the District of Columbia. It deals with specific construction and decorative proposals. Long be- fore, in 1846, the Smithsonian Institution was created to take advan- tage of a bequest of James Smithson to the United States. The Insti-~ tution has expanded over the years arid now includes no less than 10 bureaus, 4 of which are directly concerned with the arts: The U.S. Na- tional Museum, the National Collection of Fine Arts, the Freer Gal- lery (which operates only partly on Federal frmds), and the well- known National Gallery of Art. The operation of the National Gal- lery, which came into existence as the result of the private generosity of Andrew IV. Mellon and others, now requires an annual expense from the Federal funds in excess of $1,500,000. The Department of State has engaged in cultural enterprises, par- ticularly since World War II. One such enterprise is the foreign building program under the Foreign Service Building Act of 1926, as amended, pursuarit to which $185 million has been appropriated. Twenty major facilities are presently under construction. Two of the best known as the magnificient Embassies in India, designed by Ed- ward D. Stone, and in London, designed by Eero Saarinen. The De-~ partment is currently obligated to pay in architectural fees more than $1,400,000 to more than 30 different architectural firms. Under the National Cultural Exchange and Trade Fair Participa- tion Act, programs~ were established to send to remote corners of the world, such distinguished representatives of our culture as Marian Anderson, the Cleveland, Minneapolis, and Philadelphia Symphony Orchestras, Jose Limon, the cast of "Long Day's Journey Into Night," arid the Ne~ York City Center Ballet Corps. Louis Armstrong, Benny Goodman, and other jazz greats have given renditions of unique Americana in areas where most of the population rarely hears the English language. Funds have been budgeted to the State Depart- ment for foreign information and exchange activities. Of this, more than $23 million is being devoted to educational exchanges, of which a substantial part directly concerns the creative arts. PAGENO="0361" AID TO FINE ARTS 353 State is not the only agency of Government concerned, even modestly, with the arts. The Library of Congress operates a music division which not only collects material relating to music, but also conducts a performance program. While the program is financed by private gifts, the aegis of a Federal agency gives it a special impulse. The General Services Administration, a little known but vastly impor- tant branch of the Federal Government, is charged, among other things, with the responsibility of design and construction of all build- ings of the Federal Government. Its annual payments to architects, muralists, sculptors, and painters are quoted in astronomical figures. Strange as it may seem, the Department of Defense carries on its payroll more than 3,000 employees categorized by the Civil Service Commission as being concerned with the "fine and applied arts." This is more than one-half the total number of such employees in the entire Federal Government. One would not consciously select the Defense Department as a vehicle for stimulating the arts. You will recall the surge of patronage of the arts-painting particu- larly-initiated during the depression by the Federal Government. These programs were intended primarily to provide jobs for unem- ployed artists. The proposals now pending in the Senate and House have turned the eyes of Congress and the country squarely on the fundamental question: What should we do for the arts? To such a question most of us respond with three more: What is the need? Can we do it? What will it cost? There doesn't seem to be much doubt about the need to do some- thing. Our Federal dealings with the arts are chaotic. Innumerable subdivisions of offices, of bureaus, of departments are struggling with problems of vast significance. They are operating programs dis- pensing millions annually, and they have done, all things considered, a remarkably good job. But duplication, lack of direction, lack of integration have been the byproduct. There appears to be a crying need for coordination, for a study of objectives, for a systematic and informed review of results. The proposal of Representative Frank Thompson, Jr., of New Jersey, embodied in H.R. 4172, and my proposal embodied in H.R. 5408 are directed toward this need. The proposals would authorize the forma- tion of a Federal Advisory Council on the Arts. The Council, to be a branch of the Department of Health, Education, and Welfare, would be composed of 21 members, all of whom would be private citizens ap- pointed by the President. They would represent in approximate proportions the major art fields, which the bill describes as- music, drama, dance, literature, architecture and allied arts, photography, graphic and craft arts, motion pictures, radio, and television. The Council would have the power to undertake studies and make recommendations toward maintaining and increasing the cultural resources of the United States; to propose methods to encourage pri- vate initiative in the arts; and to foster artistic and cultural endeavors and the use of the arts both nationally and internationally in the best interests of our country. In my opinion, this proposal is a sound and logical step which the Federal Government can and should take. A strong Council would make itself felt throughout Government. It would introduce an ele- PAGENO="0362" 354 AID TO FINE ARTS ment of purposeful, authoritative direction to Federal endeavors affecting the arts. I have described the proposed Federal Advisory Council as a first step. What then should be the second, and third, and other steps? It may be premature at this point to formulate an answer to that. The recommendation of such steps would lie more properly in the hands of the Council. Certainly I believe the Congress should give serious and sympathetic consideration to legislation which would facilitate the international cultural exchange programs of the State Department. Another proposal would ease the burden of the Federal admissions tax imposed on the performing arts. Parenthetically, it might be noted that the admissions tax is a part of our tax structure which is foreign to other countries whose programs are carefully designed to stimulate artistic development. `Writers on this subject have commented that, while other nations subsidize the performing arts specifically and unashamedly, we impose a special penalty on them. A second step Congress should consider is the consolidation of the multitude of Federal activities now concerned with the arts under the jurisdiction of the Council. If this could be accomplished, and it is far from certain that it can, it would be a healthy and praiseworthy advance. But what of a uni- fied program of direct grants-in-aid for the improvement of the arts? In weighing such a program for the future, let's take a look at the experience of kindred nations. In Great Britain there has been since the desperate early days of World War II, a systematic government assist to the arts. I can't help noting, in passing, that the greatest common turning of people to their cultural wellsprings seem to occur in periods of the greatest stress. Witness our Federal projects in the depression days of the thirties. In beleaguered England, the Govern- ment, determined that events would not cause the continuity of British culture to falter, created the Council for the Encouragement of Music and the Arts. Its purpose was to maintain the highest possible stand- ard in wartime arts. At the war's end the name was changed to the Arts Council of Great Britain, and it embarked on a program of direct subsidies. In 1955-56, the Council received an annual grant from the British Treasury of approximately $2,400,000. The renaissance of British drama, music, ballet, and of its imaginative film industry, can be traced in large part to the efforts of the Council. Three years ago our Canadian neighbors formed the Canada council to provide for Canada the same kind of assistance that the British Arts Council provided in Britain. There is a fundamental difference, however, between the two systems. The Canadian Government funded the council with two grants totaling $150 million directing that the council was to use primarily the income from the fund for subsidies, encroaching on the fund directly only for certain limited types of projects. Thus, the Canada council is relatively unfettered by the need to seek an annual appropriation. The work of the Canadian council has gone forward with signal success. It has carried Canadian culture to the depths of each Province, and has been universally acclaimed. Even broader, and far more deeply rooted, is the French program of state subsidies. The great performing societies of Paris, the Opera, PAGENO="0363" AID TO FINE ARTS 355 the Opera-Comique, the Comedie Francaise, and the Theatre National Populaire, are dependent on national grants. Lately, the French have undertaken a vast program to carry appreciation of the dramatic arts to the most rural communities in France by the establishment of regional theaters in each area. These groups, of which there are five, enjoy a total subsidy of about $400,000 a year. As a matter of fact, in our States a great deal has been done. Ten of our States have programs for the systematic improvement of the arts. These are Louisiana, Maine, Massachusetts, Minnesota, New York, North Carolina, Pennsylvania, Utah, Virginia, and Wisconsin. All have established some orgaiiization to assist, by grants-in-aid and advice, their local arts enterprises. They have aided theaters, man- aged museums, supervised artistic improvement of State buildings, and arranged for exhibits. Their work is good, and, in my opinion, should be duplicated in the other 40. But there are some problems confronting us which cannot be dealt with by city or State. One is the ceaseless challenge of the Iron Cur- tain countries seeking dominion over the uncommitted masses of the world. Another, less acute but equally fundamental problem and which only a national approach can reach, is that of establishing some common ground with all people, simply in the interest of living a little more expansively. What better ground can there be than the sharing of common cultural pursuits ~ In these areas, and for these reasons, the Federal Government must face up to the fact that it has a part to play in the future development of the arts in this country. The approach must be step-by-step. It must be cautious; it must be made with due regard to the potential effectiveness of local govern- ment; and it must be undertaken with full appreciation of the pos- sible pitfalls-and the expense-involved. Before Congress is to em- bark the Nation on a program of unified, purposeful art patronage, it must be confronted with the coincidence of a compelling need, a feasible plan, precise profections as to cost, and a clear and unmis- takable call from the conscience of the people. These bills, H.R. 4172 and H.R. 5408, under study by this subcom- mittee will provide the mechanism for continuous stimulation and for future action. In a modest way, the Federal Advisory Council on the Arts, by making studies and recommendations, could exert a unifying force upon the current diverse Federal cultural programs. The Council these bills create would not administer subsidies. It would, nevertheless, provide a significacnt national impetus to the systematic exchange of views on cultural matters. It would give the arts a national spokesman and a natiOnal forum. Surely we owe the arts-and our people-that much. Responsible policies to sustain and enhance the arts are essential to the general welfare and the national interest at home and abroad. Mr. THOMPSON. We will now hear from the Honorable Seymour Halpern, a Congressman from New York. STATEMENT BY HON. SEYMOUR HALPERN, A REPRESENTATIVE IN CONGRESS PROM THE STATE OP NEW YORK Mr. HALPERN. Mr. Chairman, and members of the subcommittee, may I preface my presentation with my sincere thanks for the oppor- tunity you have given me to submit my views on the proposed legisla- PAGENO="0364" 356 AID TO F~ ARTS tion for a more intensive Federal program in support of the arts? It is most courteous of your to give me your attention and I appreci- ate it, not only on my own account but on behalf of the millions of American citizens who share my concern and for whom, in small measure, I shall try to speak. I have already given earnest of my sincerity in this important mat- ter by introducing appropriate legislation for Federal stimulation and responsibility in our cultural life. On February 19 I introduced H.R. 4427-as companion legislation with U.S. Senator Javits, establishing a $10-million-a-year U.S. Arts Foundation, to provide financial assistance to nonprofit groups en- gaged in the performing arts, including theatrical, musical, opera, dance, ballet, and choral recitals. I felt arid still feel that if our Government can subsidize American artistic performances behind the Iron Curtain, it can also afford to subsidize first-rate American artis- tic performances in the many American communities which have never seen a first-class play or heard a first-class orchestra. In short, I think that culture-like charity-begins at home. On April 19, I also introduced H.R. 6484, to establish a Federal Advisory Council on the Arts in the Department of Health, Educa- tion, and Welfare. This Council would be composed of 21 outstand- ing private citizens widely recognized for their knowledge of, or ex- perience and interest in, one or more of such arts as music, drama, dance, literature, architecture, painting and sculpture, as well as photography, graphic and craft arts, motion pictures, radio, and tele- vision. The members would be named by the President, by and with the consent of the Senate, and the President would designate one mem- ber of the Council to serve as its Chairman. Members would serve `for 6 years and shall receive compensation not exceeding $50 per diem,. ~s well as appropriate travel and subsistence. This second measure is not confined to the performing arts but ex- tends to the creative arts as well. Such a bill provides long overdue and basic recognition of the role of the arts as a vital factor in our national life, and as a medium for correlating and drawing together in a continuing relationship the numerous separate efforts throughout ~the Nation in the development of the arts. The Council would help to `promote creative activity and stimulate the creative forces of a free society. It would act as a potent weapon in our struggle against athe- istic, materialistic communism. Through studies and recommenda- tions, such a Council would propose methods to encourage private initiative in the arts, and promote cooperation with local, State, and Federal departments or agencies to foster artistic and cultural en- deavors. I would not pretend that these two bills cover the entire range of measures required to place a firm Federal policy behind the burgeon- ing growth of our Nation's vigorous cultural activity. Other bills have been introduced and are before your committee. They seek the same general objectives that I do and ~so I propose to use the time which you have graciously accorded to me to speak on the general purport of this proposed legislation. Ours is almost the only great nation which has no national policy for the encouragement of the creative and performing arts. Many governments have long established Ministries of Fine Arts and in- PAGENO="0365" AID TO FINE ARTS 357 tensive cultural programs which have become a source of national strength and prestige. Italy and France spring to mind as nations whose cultural life has in a very real sense assured their national sur- vival again and again. And we all recognize the highly effective use the Soviet Union makes of the Russian ballet and other traditional Russian art forms, as Communist propaganda. The British Govern- ment, so like our own in its traditional suspicion of anything artistic, since the war has extended direct subsidy and aissistance to the per- forming arts, enabling us to enjoy the Old `~Tic and the Sadler's Wells Ballet, among other things. Here in Washington we have the Fine Arts Commission, which passes on the esthetic)s of various purely Federal construction, and the National Cultural Center, which is heroically struggling to raise pri- vate funds to establish a center for the performing arts here in the Nation's Capital. During the depression, there were Federal work- relief projects for writers, theatrical performers, and artists and they were among the most popular programs of the entire New Deal. Frankly, as an amateur artist myself, I reserve judgment on some of the bulging Rivera-and-branchwater frescoes inflicted on various post offices and Federal courthouses in this period. Nevertheless, the 1930's were the only period in our history when creative and performing artists were regarded as a national asset and not a group of rather peculiar citizens who were neither necessary nor inevitable. I would not ask this committee to believe that America is a howling desert when it comes to the arts. In the last two generations, there has been tremendous vitality, particularly in music and symphony orchestras, ballet and the so-called Little Theater movement. While in my judgment we have yet to equal the great surge of creative writ- ing in the 1920's, our literary life continues to flourish and not all of our young writers are beatniks or pornographers, though they have yet to equal Sinclair Lewis, Theodore Dreiser, or Stephen Vincent Benet. In my judgment, the very vitality of the cultural upsurge which has followed the war calls for an equally vital awareness and a posi- tive cultural program on the part of the Federal Government. We spend hundreds of millions of dollars on scientific and tech- nological training, research, and development, to a degree which threatens to make our entire cultural life somewhat mathematical and musclebound. The contribution of creative art to the spiritual side of our civilization can keep our society in balance. We do not want to breed a race of engineers and mechanics at the cost of depriv- ing us of the sensitive and esthetic intelligence which can use our tremendous scientific powers with wisdom and humanity. Moreover, since the war, certain blindspots have developed in our cultural progress. The theater in particular has been threatened by an unwholesome concentration on Broadway, with rising costs that today almost threatens the American theatrical tradition with extinc- tion. The rising costs of book publication have narrowed the oppor- tunities for new writers and are compelling smaller and adventurous publishers to combine with larger firms and play it safe. I will not discuss television or recent American films, except to point out that the most successful recent TV entertainment program was "The Age of Kings," prepared by British Broadcasting Co. and that English PAGENO="0366" 358 AID TO FINE ARTS films have measurably replaced the Hollywood product in our tradi- tional field of high and low comedy. It seems clear to me that instead of a hard-and-fast Federal pro- gram for the arts, we need the kind of selective approach to the vari- ous fields of art, in order to redress the balance where it has been artificially disturbed and to provide encouragement to rather than impose regimentation on the creative and performing artist. It als& seems clear to me that the original purpose of our copyright laws, to assure to the individual artist an equity in the value of his own work,. have been largely superceded by the progressive income tax. A writer,. musician, artist, or performer may be successful for only a very few years, yet the income ta.x penalizes him just as though he possessed a talent-such as skill in medicine, engineering, or the law-which could last a lifetime. I do not propose to discuss this aspect of the problem, but I think this committee should be aware that it exists and is a real and serious one so far as the creative artist's career is concerned. This problem is in part responsible for the rising demand that the Federal Government embark on a program of subsidy for artists as well as for the arts. I suggest that in subsidizing the arts we shall also help to subsidize the artists on the basis of their achieve- ment in this most competitive of all human activities. Let me add one note of caution before I conclude this statement. One of the things to guard against in any such program as this is the danger that a. group of artistic connivers and promoters shall bureauc- ratize the arts and set up cliques of insiders to the detriment of the entire artistic life of the Nation. This could happen here. as well as it has in Moscow where the great Russian novel "Dr. Zhivago" was banned because it did not conform to the official cultural line of the Soviet Union. My proposals for an Advisory Council on the Arts include a provision that on the expiration of a member's 6-year term he shall not be eligible for renomination until after an interval of 2 years has passed. This would counteract the self-perpuating impulse which, as we all know, is responsible for so much bureaucratic em- pire building and administrative cross-purposes in Washington. Nothing could be more fatal to American creativeness than to permit a group of Federal officials to dictate the form and content of our esthetic development in order to protect their own jobs. This is a very real danger and I mention it because I submit that it is outweighed by these considerations which I have already outlined in my declaration of policy in H.R. 6484: (1) That the growth and flourishing of the arts depend upon freedom, imagination, and individual initiative; (2) That the encouragement of creative activity in the per- formance and practice of the arts, and of a widespread participa- tion in and appreciation of the arts, is essential to the general wel- fare and the national interest; (3) That as workdays shorten and life expectancy lengthens, the arts will pla.y an evermore important role in the lives of our citizens; and (4) That the encouragement of the arts, while primarily a matter for private and local initiative, is an appropriate matter of concern to the U.S. Government. PAGENO="0367" AID TO FINE ARTS 359 Mr. THOMPSON. The record will be kept open until Monday next for additional statements and for letters of support or opposition to the legislation. The subcommittee will now adjourn. (The following communications were received for the record:) HUNTINGTON HARTFORD FoUNDATIoN, Pacific Palisades, Calif., May 12, 1961. Hon. FRANK THOMPSON, Jr., House of Representatives, Washington, D.C. DEAR MR. THOMPSON: I understand you are endeavoring to rectify our lack as a nation in respect to encouragement in the field of arts. This is com- mendable and timely. On April 25, I wrote to Pierre Salinger, sending him information which I be- lieve pertinent to any governmental consideration. Let me quote: "May I suggest that efforts be expended toward all the creative arts, since the creative artist is the source of each production, and is on the tail end of any remuneration. I am in a special position to observe this, since I am a creative painter and printmaker myself, and since I am serving, and have served the last 7 years, as resident manager and assistant director of an art colony. "Consider for a moment the effect on world thinking about our land when it is realized that we are the only civilized nation which does nothing for its crea- tive persons. A feeble excuse is that "we are young"-for the sake of God and country, how long does it take to grow up? "France has a `Direction General des Arts et des Letters' which sends her art abroad to embassies over the world. Regular acquisitions are made to the tune of 100 million francs annually for her Museum of Modern Art. In 1951 a bill enabled 1 percent of the total sum spent on buildings such as schools and national institutions to be spent toward decorating those buildings. This amounts to 250 million francs annually. One hundred and forty million is de- voted to the educational side of contemporary art, the state paying the salaries of art teachers and professors. France grants an annual prize of one-half mil- lion francs to an artist who has "honored" her. She has set up 3,600,000 francs to help artists stricken "dans la misere," and two parks are set aside for resi- dence for older artists, so they may paint and make a contribution to France after age 65 for the rest of their lives. And in the face of this, what does the richest nation on earth do? "Let's take another look at an aspect no one is facing up to. The cost to the artist has increased in dimensions that reach martyrdom. In 1958, the American Federation of Arts published statistics attesting that only a few artists in this great country are able to live on income from their creative works. This report further reveals an economically smitten member of our society to be shouldered with the subsidy of the culture for which he is held responsible. The, artist con- tributes millions of dollars annually for minute returns and little thanks. Using a minor example, it is estimated that 2,000 printmakers mat pictures and ship to 10 shows at a cost to the artist of $12 per show. Here is an outlay of $240,000-add to this the average fee of $4 and we have nearly one-quarter of a million dollars, simply to support printmaking as an art. Oil and sculpture exhibits would easily be $3 million expense, not counting the time spent in crat- ing, preparing the shipment, etc. "Let us not allow this condition to persist. Let's do something about it. Mexico has demonstrated results, the Scandinavian countries care about their artist-so, too, the Russians. * * *" May I ask you to consider the creative artist for what he is, the source of all the arts, and to nurture this aspect of our culture? Thanking you for the kind attention. Very truly yours, CHARLES B. ROGERS. RUTGERS, THE STATE UNIvERsITY, COLLEGE OF ARTS AND SCIENCES, New Brunswick, N.J., May 14, 1961. Hon. FRANK THOMPSON, Tr., House of Representatives, Washington, D.C. DEAR MR. THOMPSON: Thank you for your letter of April 28 and the enclosure from Mr. Marvin Cox inwhich the USIA says it can do nothing along the lines PAGENO="0368" 360 AID TO FINE ARTS of my proposal for the creation of a Government-sponsored publishing house to disseminate in English the works of Latin American writers. I cannot say that I did not expect this. But I also say that this will have to be done sooner than later. It is just as important to feed, clothe, shelter, and educate the Latin American masses as it is to do the same for the minorities who write, think, and create esthetic values. The Soviet Union has realized this and is already doing something about it; we cannot afford to be too far behind. It was heartening, however, to know that the idea of a yearly prize in litera- ture interested our correspondents. This is good because it will-would-have an immediate effect in stimulating writing and publication in English of the best in each genre produced every year in Latin America. I am sure that this would be a fine way to begin. I am wondering now if you could cause the wheels of the machinery that would bring this about to turn fast enough to make possible its most opportune and effective announcement? This would be at the 10th Congress of the International Institute of Ibero-American Literature. The congress will hold its biennial meeting under the auspices of the National University of Mexico and the University of Oaxaca next August 30, 31, and September 1. The most important writers, critics, and professors in the Americas are members, and many of them will be present at those meetings. The announcement would be, I am sure, a singular coup. Dr. Francisco Monterde, president of the institute and president of the Mexican Academy of the Language, is my personal friend. Moreover, he is one of the few pro-Yankee intellectuals still left there. I feel sure that he would be happy to invite anyone authorized to make the announcement to do so, you for instance. I am, of course, getting ahead of the story through sheer optimism. I do think that the prize is a natural during Mr. Kennedy's administration since be is a man of letters himself and a recipient of the Pulitzer. Sincerely yours, JosE VAzQuEz AMARAL. NEW YORK, N.Y., May 15,1961. Congressman FRANK Tno~fPsoN, Jr., House Education and Labor Committee, Old House Office Building, Washington, D.C. DEAR CONGRESSMAN THOMPSON: I regret that the scheduled hearings for Tues- day, May 16, at which I was scheduled to testify, have now been canceled, and therefore I won't be able to testify in person on H.R. 4172 and HIt. 4174. The American Guild of Musical Artists (AFL-CIO), which represents solo singers, chroisters, stage directors, stage managers, choreographers, and dancers in the field of opera, concert, and the dance, is wholeheartedly in support of these two bills and the purposes of the legislation. We believe that HR. 4172 is an important beginning toward a greater role on the part of the U.S. Government in the growth and development of all the arts in our country and that H.R. 4174 is a practical implemention toward this development and toward giving assistance in this field. It is becoming more and more obvious that the arts will not flower and realize the great potentialities which have thus far been shown by the American artists unless the Federal Government takes positive and concrete steps to aid and assist them. Sincerely, Hv FAINE, Nati~ia7 Ewecutive secretary, America'n Guild of Musical Artists. NEW YORK, N.Y., May 15,1961. Hon. FRANK THo~rPsoN, Jr., Chairman. subcommittee on Cultural Activities, House of Representatives, Washington, D.C.: On be1~alf of the 15,000 members of the American Federation of Television and Radio Artists, representing performers in the fields of radio, television, phonograph recordings, and transcriptions, we heartily endorse H.R. 4172, which would establish a consultative body of specialists in the arts to advise Congress and the administration. DONALD F. OONAWAY, 7~Tation.a7 Ercecutive secretary, American Federation of Television and Radio Artists. PAGENO="0369" AID TO FINE ARTS 361 SARAH LAWRENCE COLLEGE, Bronwville, N.Y., May 15, 1961. Hon. FRANK THOMPSON Jr., House Office Building, Washington, D.C. Dn~n Mn. THOMPSON: On behalf of the National Council on the Arts and Government I wish to submit the following statement in support of legislation H.R. 4174 to establish a program of grants to States for the development of programs and projects in the arts. I do so, not only because of the interest in the legislation which I share with thousands of citizens concerned for the cultural and spiritual welfare of the United States, but because of my deep conviction that our schools, colleges, and universities have within themselves a magnificent opportunity to raise the level of the arts and of cultural achievements for the entire population of the country. During the 22 years in which I have been closely associated with American colleges and universities as a faculty member and a college president, I have seen a remarkable growth of the creative arts in our educational system. Twenty years ago the first resident painter was appointed to a major university, the University of Wisconsin; the Pro Arte Quartet became a resident group there, to play for the citizens of Madison and in towns and villages all over the State where previously no chamber music concerts had ever been heard. Since then the movement in the universities toward bringing the arts directly to the citizens has grown enormously, with music and arts festivals in dozens of institutions, writers' workshops in more than a hundred colleges, art exhibits, plays, poetry centers, and opera sponsored by the universities themselves. H.R. 4174 is a dramatic proposal at exactly the time when we now have the intellectual and cultural resources to make use of its provisions, and when the stimulation of the Federal Government to the work of the States would have direct and immediate results in giving the arts a central place in the lives of Americans. It is clear that the communities of the country and the educational institutions are not able to finance the creative arts by themselves. The uniyersities are so hard pressed for funds of all kinds and for the arts in particular that they are unable to go further on their own, at a time when' we are in serious danger of overwhelming our culture with the accumulation' of scientific research' and scientific enterprises. The huge Government budget now being spent for science must be matched by an appropriate budget for the arts if we are to have a society which retains its spiritual health and achieves the necessary balance between technique and idea. It is also true that the present costs of theater, dance, opera, and of musical organizations is so great that only rarely is it possible for communities to sustain first-rate work in the arts themselves unless supported by foundation grants or unusual private gifts. Instead, the arts become commercialized, and accord- ingly fail to provide the conditions for genuine creative development by the country's most serious artists. In addition, there is no place to go for those* who are young and talented in the arts, no outlet for their gifts except in commercial enterprise where the esthetic standards become unavoidably debased.. Through the universities and the community organizations of the country we have the instruments for developing a citizenry which will not only find richness and satisfaction in the cultural opportunities H.R. 4174 would provide, but would elevate the taste and judgment of the country as a whole,, making demands on television and the mass media which would In turn force their standards to rise A cycle of growth would then begin which would surpass in speed and range anything which we or any other country has ever seen I support strongly your efforts in this cause, and I know I speak for the majority of serious American educators in~ support of H.R. 4174 now before your Subcommittee on Education. Yours sincerely, HAROLD TAYLOR, President, &irah Lawrence College, 1945-1959. PAGENO="0370" 362 AID TO FINE ARTS AMERICAN FEDERATION OF LABOR AND CONGRESS OF INDUSTRIAL ORGANIZATIONS, Washington, D.C., May 17, 1961. lIon. FRANK THOMPSON, Jr.. Chairman, Select Subcommittee on Education of Committee on Education and Labor, House Office Building, Washington, D.C. DEAR CHAIRMAN ThO~IPSoN: It is with pleasure that the AFL-CIO adds its support to H.R. 4172, providing for a Federal Advisory Council on the Arts, and H.R. 4174, authorizing funds for the development of programs and projects in the arts. We urge your committee to seek speedy enactment of these measures. I am sure you are aware that the labor movement is deeply concerned in the development of cultural pursuits. Many members of the AFL-CIO are perform- ing artists whose lives have been given to music and drama. Many others have participated in union-sponsored programs in choral singing, ceramics, drama, and other artistic pursuits during nonworking bours. The need for the Federal programs envisioned in ll.R. 4172 and H.R. 4174 will become greater with the passage of time. Our Nation is already in the midst of a second great technological revolution brought on by automation. This new skill-the substitution of machines for the human mind in the production of goods and services-has already sparked a reduction in the workweek for many American workers. As automation spreads to new industries and new plants, we may expect the 40-hour week to become a thing of the past, supplanted by a 35-hour or a 30- hour week. Several of our unions have already established a less-than-40-hour week through collective bargaining, and more will do so in the future. Much of this new-found leisure will be channeled into recreational pursuits, including outdoor activities and academic education. Cultural activities and education in the arts should expand and grow with these other pursuits. Establishment of the proposed Advisory Council would give a needed and salu- tary public focus on cultural development. It is noteworthy that the Advisory Council would not be limited to those in "classical" art fields, but would include the newer art forms. This is a proper recognition of the broad interest of our people. H.R. 4174 would, through its encouragement of activity in the several States, insure important local impetus to development programs. such interest on the part of local groups throughout the country is essential to any real broadening of our cultural base. May I again congratulate you and your committee on your interest in this legislation. I hope you will include this letter in the record of the hearings. Sincerely yours, ANDREW J. BIEMILLER, Director, Department of Legislation. THE LEAGUE OF NEW YORK THEATRES, INC., New York, N.Y., May 17, 1961. Hon. FRANK THOMPSON, JR., Chairman~ Subcommittee on Cultural Activities, House Office Building, Washingtdn, D.C. DEAR CONGRESSMAN THOMPSON: In telephone conversation with Mr. Frail we advised him of our support of legislation establishing a Federal Advisory Council on the Arts and enactment of a national cultural development program. We take this opportunity to reaffirm to you our support for such legislation and would like to request from you what further action might be required from our organization to sponsor such urgently needed programs. We appreciate your interest on our behalf. Sincerely yours IRVING W. CHESKIN, Ewecutive Director. PAGENO="0371" AID TO FINE ARTS 363 Nsw YORK, N.Y., May 19, 1961. lion. FRANK THOMPSON, JR., Chairman, Select Subcommittee on Education, Committee on Education and Labor, House of Represeatatives, Washington, D.C. DEAR Mn. THOMPSON: Thank you very much for your letter of May 10, in which you informed me of the hearings to be held on May l5on H.R. 4172. I appreciate yoUr suggesting that the committee would be interested in my views as an in- dividual and as the chairman of the board of Lincoln Center for the Performing Arts. I regret very much that I was not able to be present at the hearings but I had a longstanding commitment which required that I be in New York on the day pro- posed. Uuder the circumstances, you suggested that I set forth my views in writing. The role of the arts in American life has increased with each passing year so that today participation, support, and enjoyment of the arts is no longer the prerogative of the few. They have become a part of the daily lives of a vast majority of our population in all walks of life. A very tangible indication of this development is the substantial increase in the number of local symphony or- chestras, amateur dramatic groups, museums, and cultural centers~ These have come about through the interest, initiative, and support of individual citizens through out the land. This has been a wholesome development and one which is almost inevitable in the light of the industrial advancement of the country. Increasingly our people have had a desire and have felt a need for ~ome form of self-realization, some means of creative fulfillment. In less complicated times most of our citizens could find this in their daily labors-in the quite visible products of their hands. But today society is more complex and mechanized and it is difficult for most of our citizens to gain from their labor alone the satisfactions they desire. Accordingly, they are turning more and more to the arts as one means- and as a very important means-for gaining such satisfactions. While this development has come about primarily as a result of individual initiative and local interest, the arts have become such a significant part of our national life that it does seem to me that recognition of their importance, as well as their encouragement, are matters of appropriate concern for the Fed- eral Government. It is also highly desirable that there be a focal point for such concern within the executive branch of the Government. The Federal Advisory Council on the Arts, as proposed in H.R. 4172, is well designed to achieve this result. The very existence of the Council will give recognition to the importance of the arts. The bill provides a vehicle through which those interested in the arts may appropriately bring matters of signifi- cance to the attention of the Federal Government-matters which are appro- priate for the consideration and concern of the Federal Government. In addi- tion, the Council is not vested with such executive powers as will enable it to interfere with the healthy, normal development of our culture through mdi- vidual initiative. For these reasons I sincerely hope that H.R. 4172 will be favorably considered by the House of Representatives. If there is anything I can do to further this legislation either individually or in my capacity as chairman of the board of Lincoln Center, I hope very much that you will not hesitate to call upon me. Sincerely, JOHN D. ROCKEFELLER 3d. PAGENO="0372" 364 AID TO FINE ARTS NEW YORK, N.Y., May 22, 1961. Hon. FRANK THOMPSON, House Office Building, Washington, D.C.: Your bills H.R. 4172 and H.R. 4174 are important step toward American recognition of art. Our Government had fallen behind all others in cherishing our arts. American artists barely survive and function in spite of native cli- mate; conditions must be changed quickly if we are to keep pace with rest of world. Aoi~s DEMILLE. (Whereupon, at 12:05 p.m., the subcommittee adjourned, subject to the call of the Chair.)